{"id":10362,"date":"2017-12-21T01:39:38","date_gmt":"2017-12-21T01:39:38","guid":{"rendered":"http:\/\/www.jwfan.com\/?p=10362"},"modified":"2017-12-29T17:59:37","modified_gmt":"2017-12-29T17:59:37","slug":"the-post-soundtrack-album-first-impressions","status":"publish","type":"post","link":"https:\/\/jwfan.com\/?p=10362","title":{"rendered":"‘The Post’ Soundtrack Album: First Impressions"},"content":{"rendered":"

THE POST<\/strong>
\nOriginal Motion Picture Soundtrack
\nMusic Composed and Conducted by John Williams<\/p>\n

Track-by-track review by Thor Joachim Haga<\/strong> (original <\/a>post<\/a>)<\/p>\n

\n

OK, had my first listen to this. I like it far better than The Last Jedi<\/em> — I’m even tempted to say it’s my second favourite JW score after War Horse<\/em> since 2005!<\/p>\n

I still haven’t seen the movie, so I have no idea what scenes these tracks accompany.<\/p>\n

01. The Papers<\/strong> (3:56) – Shades of Presumed Innocent<\/em>, Munich<\/em> and Nixon<\/em> (all as expected). A surprising presence of pulsating electronics (even more pronounced than the opening of MUNICH). I wonder how much input Williams had in this, or if it was all produced\u00a0by someone else (Randy Kerber?)?\u00a0Dark, undulating strings and solemn brass throughout.<\/p>\n

02. The Presses Roll <\/strong>(5:00) – Slightly lighter string ostinato, with brass as occasional punctuation marks. Sounds surprisingly “contemporary” (think Marianelli, Korzeniowski etc.). Gorgeous string harmonies towards the end. Nice track!<\/p>\n

03. Nixon’s Order<\/strong> (1:47) – Basically VERY dark, slow string harmonies.<\/p>\n

04. The Oak Room, 1971 <\/strong>(1:46) – Sounds like a ‘loungey’ jazz track with pronounced solo piano and a bass. A source cue, presumably? Very smooth. Could have been an outtake from Sabrina<\/em>.<\/p>\n

05. Setting the Type<\/strong> (2:34) – A steady rhythm builds gradually with exploratory string harmonies, almost setting into a Star Wars<\/em>-type march on several occasions, but it’s always “cut off” before it gets going.<\/p>\n

06. Mother and Daughter<\/strong> (3:23) – Lovely, melancholic piano. Very delicate with shades of Americana. Eventually strings join in. Beautiful! In the territory of Stanley & Iris<\/em>, The Accidental Tourist<\/em> or Stepmom<\/em>, although perhaps without the strong melody.<\/p>\n

07. Scanning the Papers<\/strong> (2:22) – More Presumed Innocent<\/em> stylings. Cautious, with circular figures. Not very remarkable track.<\/p>\n

08. Two Martini Lunch<\/strong> (2:34) – More loungey piano jazz. Another source cue, I presume. Same quality as “The Oak Room, 1971”, although more ‘improvisational’.<\/p>\n

09. Deciding to Publish<\/strong> (5:42) – Clearly a pivotal moment in the film. Starts off cautious and suspenseful, slightly dissonant. Then at 1.44, a more steady string ostinato comes in — still keeping it all eerie. At 2:19, the track grows more busy. The string ostinato picks up its pace. The trademark Williams brass counterpoints emerge, as does the electronic beat. It’s not a particularly remarkable track (there is NO melody or theme), but I love the gradual build and “riffs”.<\/p>\n

10. The Court’s Decision & End Credits<\/strong> (11:04) – The ‘tour-de-force’ track. Americana is back, with both brass and strings harmonizing in typical Williams fashion. The rhytmical patterns appear regularly — Williams’ new love of clusters and motifs — but the vast-leaped Americana melodies are never far away. Some lovely woodwinds here too (oh, how I’ve missed them!). At about 5 minutes, the faux-march appears for a few moments — reminiscent of the opening track of Nixon<\/em>. Superb track!<\/p>\n

Buy The Post<\/em> OST from Amazon.com<\/a><\/p>\n<\/div>\n