Blonde (Soundtrack From The Netflix Film)
Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
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Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
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Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
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This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
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Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Nick Cave and Warren Ellis reconvene for a suitably elegiac vintage Eno-style synth-led accompaniment to Netflix's polarizing Marilyn Monroe biopic.
Nick Cave and Warren Ellis's umpteenth soundtrack collaboration since 2005's remarkable score for John Hillcoat's "The Proposition", "Blonde" finds them again in collaboration with director Andrew Dominik, who only recently released the documentary "This Much I Know To Be True" about the duo's creative relationship. "Blonde" is an adaptation of Joyce Carol Oates' novel of the same name, a complex deconstruction of Marilyn Monroe's legend that required an equally obtuse musical treatment. They appear to evoke the slippery, half-cut mystery of Brian Eno's most essential early solo catalog (think "Apollo" and "Music for Airports"), drowning obscure choral sections in vintage electronic pads and muted piano motifs in beds of tape-dubbed ambience.
Cave and Ellis's treatment works well because it's so assuredly self-aware; they balance self-consciously cheap electronic elements (portamento synths and talkbox vocals) with grandiose cinematic sweeps. Even at its most brittle, "Blonde" is almost painfully beautiful; Cave and Ellis's signature wash of outback melancholia is present in each watery chord and vintage, neon-hued pad. Tracks like 'Strawberry' and clear highlight 'Gemini' are the standouts, both incorporating tremolo-damaged analog electronics and whimsical vocals. It reminds us of Air's peerless "Virgin Suicides" soundtrack, and that's no bad thing at all.