Mary & George (Original Series Soundtrack)
Preeminent cellist/composer Oliver Coates follows scores for ‘Aftersun’ and ‘Foe’ with his near-2 hours of stately string and electronic orchestrations for Tudor and Stuart-era period drama ‘Mary & George’
Oliver Coates is another member of the late ‘00s school of musicians who budded in the early part of the early 2010s, and have since blossomed into a new wave of leading composers for film, each lending a distinctive voice to the medium. On ‘Mary & George’ Coates draws on his roots in classical, as much as electronic and club musics, to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
Cue Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’ or ‘Masque’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s nuff harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film.
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Preeminent cellist/composer Oliver Coates follows scores for ‘Aftersun’ and ‘Foe’ with his near-2 hours of stately string and electronic orchestrations for Tudor and Stuart-era period drama ‘Mary & George’
Oliver Coates is another member of the late ‘00s school of musicians who budded in the early part of the early 2010s, and have since blossomed into a new wave of leading composers for film, each lending a distinctive voice to the medium. On ‘Mary & George’ Coates draws on his roots in classical, as much as electronic and club musics, to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
Cue Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’ or ‘Masque’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s nuff harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film.
Preeminent cellist/composer Oliver Coates follows scores for ‘Aftersun’ and ‘Foe’ with his near-2 hours of stately string and electronic orchestrations for Tudor and Stuart-era period drama ‘Mary & George’
Oliver Coates is another member of the late ‘00s school of musicians who budded in the early part of the early 2010s, and have since blossomed into a new wave of leading composers for film, each lending a distinctive voice to the medium. On ‘Mary & George’ Coates draws on his roots in classical, as much as electronic and club musics, to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
Cue Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’ or ‘Masque’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s nuff harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film.
Preeminent cellist/composer Oliver Coates follows scores for ‘Aftersun’ and ‘Foe’ with his near-2 hours of stately string and electronic orchestrations for Tudor and Stuart-era period drama ‘Mary & George’
Oliver Coates is another member of the late ‘00s school of musicians who budded in the early part of the early 2010s, and have since blossomed into a new wave of leading composers for film, each lending a distinctive voice to the medium. On ‘Mary & George’ Coates draws on his roots in classical, as much as electronic and club musics, to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
Cue Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’ or ‘Masque’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s nuff harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film.