I admit, I still have not seen an episode of “Stranger Things.” But my girlfriend saw the whole thing. And every time she had it on, I would say,”man, that is one good score.”
I have a theory that the reasons movies are not as powerful as they once were is because of their weak scores. Once you’re a composer and getting paid handsome fees to furnish lackluster films with your notes, you can’t say no and eventually you start phoning it in. The best of the best is guilty of this. Morricone, Williams, Elfman, Zimmer, Glass (of course, the master of phoning it in). But each of these guys at one point has touched us with their music. Remember when there was time you’d walk out of theater, humming the music? Star Wars, Superman, Indiana Jones, we just don’t do that anymore, because there’s nothing to hum. Can you whistle one note from any superhero movie that came out in the last 5 years?
Whereas, Phillip Glass’ “Mishima” score is some of the greatest film music you’ll ever hear. Vangelis’ “Blade Runner” score is like nothing before or after it. Giorgio Moroder’s “Scarface” music is haunting and empowering all at once, taking us into the soul of Tony Montana. Is it an accident I use 80s music as examples to define the music to “Stranger Things,” a purely 80s, synthesizer, electronica, melancholia, school ditching mood of a score. Listen to it while you reflect on your regrets, while you make the soup that will cure you of your cold because you have no one to do it for you, while you ponder on the meaninglessness of the universe you live in. This is quite a rad score. I Can’t Believe It’s on YouTube.
Written by: Norith Soth