Self/Less Soundtrack Review: This is a review of the film score Self/Less by Dudu Aram & Antonio Pinto.
At a glance:
Geek Score: 80.9
Total Minutes Of Excellence: 10.53
Album Excellence: 19%
Self/Less is a 2015 American Science fiction thriller directed by Tarsem Singh and starring Ryan Reynolds, Ben Kingsley and Natalie Martinez. Billionaire industrialist Damian Hale (Ben Kingsley) is master of his universe, until he encounters a foe that he can’t defeat: cancer. His only hope is a radical medical procedure called “shedding,” in which his consciousness is transferred to a healthy body. After the procedure, Damian, now called Edward (Ryan Reynolds), starts a new life in New Orleans, but he’s plagued by disturbing images. When he delves into Edward’s mysterious origin, he learns that some will kill to keep it secret. This score is composed by Dudu Aram & Antonio Pinto.
The score starts with ‘Shedding’ which is what they call the actual act of transferring consciousness from one body to another. The music is cold, minimalistic. I feel the colours blue and white just like the cover art. It’s not a loving act of a God, it’s a cold scientific act, a selfish act, in order to save oneself from a dying body. I feel the music reflect all that perfectly. The music fails to move me, but I don’t think it necessarily should based on what I know about the act of “shedding”. The bleak coldness doesn’t end with shedding though. Dark minimalism is what I would call this. It’s a double edges sword really, and I have no idea what makes a score “tick” in my mind when it comes to dark minimalism. I would call Charlie Clouser’s Wayward Pines a dark minimalistic score, but I enjoyed that a lot more than this one so far. Could it be the textures or lack thereof? The scores seems a bit one-minded with one distinct sound, a cold soulless brassy synth which is used throughout.
Despite me not loving it, I can’t help but being fascinated by the sound of it. Sometimes it breaks out in almost action-filled rhythms while still keeping the same sound, but it fascinates me somehow, but never inspires. ‘Car Chase’ offers an exciting experience with lot of synths and electronic percussion that on some level reminded me of the End Titles for Blade Runner. The score is is quite cold except for a nice number at the end called ‘Goodbye Anna’ which features the cello and a quite lovely theme. Same can be said about the ending cue ‘Self/Less’. Even though me and this score didn’t hit it off right away, it has tons of growing possibilities. I can see myself loving it one day in the future, but not right now.
15. Car Chase
20. Goodbye Anna