Black Swan (Original Motion Picture Soundtrack) by Clint Mansell on Apple Music

16 Songs

EDITORS’ NOTES

In scoring the acclaimed Darren Aronofsky-directed 2010 thriller Black Swan, composer Clint Mansell and conductor/orchestrator Matt Dunkley brilliantly paid homage to selections from Pyotr Ilyich Tchaikovsky's classic 1876 ballet score Swan Lake. “Nina’s Dream” opens echoing Tchaikovsky’s score before those familiar string movements are altered and remolded with electronic flourishes that fluctuate and groan to illustrate the protagonist’s abused and tortured character. Deviating from the ghost of Tchaikovsky’s melodic reveries, brilliant moments of originality surface in the cold and foreboding ambiance of “Lose Yourself” and “Opposites Attract,” the former mirroring the uneasiness of sleepless paranoia and the latter implementing a sublime trill that nervously builds to approximate Nina’s snowballing anxiety. The maddening bombastic bounce of “A Swan Is Born” takes its cues from the end of Tchaikovsky’s “Danse Hongroise” aptly followed by the swiftly simmering “Perfection” which boils over into the bookending “A Swan Song (For Nina).”

EDITORS’ NOTES

In scoring the acclaimed Darren Aronofsky-directed 2010 thriller Black Swan, composer Clint Mansell and conductor/orchestrator Matt Dunkley brilliantly paid homage to selections from Pyotr Ilyich Tchaikovsky's classic 1876 ballet score Swan Lake. “Nina’s Dream” opens echoing Tchaikovsky’s score before those familiar string movements are altered and remolded with electronic flourishes that fluctuate and groan to illustrate the protagonist’s abused and tortured character. Deviating from the ghost of Tchaikovsky’s melodic reveries, brilliant moments of originality surface in the cold and foreboding ambiance of “Lose Yourself” and “Opposites Attract,” the former mirroring the uneasiness of sleepless paranoia and the latter implementing a sublime trill that nervously builds to approximate Nina’s snowballing anxiety. The maddening bombastic bounce of “A Swan Is Born” takes its cues from the end of Tchaikovsky’s “Danse Hongroise” aptly followed by the swiftly simmering “Perfection” which boils over into the bookending “A Swan Song (For Nina).”

TITLE TIME
2:48
1:06
2:39
1:56
3:28
2:08
3:29
1:42
2:20
3:45
8:01
3:51
1:30
1:38
5:44
6:23

About Clint Mansell

Frontman for the sadly defunct Pop Will Eat Itself, among other things, Clint Mansell (b. January 7, 1963, Coventry, England) has played a lot of music. Affectionately known as Clint Poppie, he started out in 1981, forming a group called From Eden that included future members of Pop Will Eat Itself, in the English industrial city of Stourbridge. After several years, the band broke up (they argued over who had performed better on The Tube). Mansell, along with future Poppies Adam Mole and Graham Crabb, then recruited the fourth Poppie, Richard March, and proceeded to release an EP as Wild & Wandering. On their next self-released EP, the band finally came to rest with the name Pop Will Eat Itself, stolen from an NME article.

Signed to Chapter 22, Pop Will Eat Itself put out a series of singles and a pair of albums that attracted a lot of attention. Eventually, they signed to RCA. After three albums, innumerable singles, and a fair amount of critical and commercial success, RCA dumped them. They immediately signed with their former A&R man's label, Infectious. After another pair of albums, the band began to fragment. Crabb split for his own project, Golden Claw Music, and in 1996, Pop Will Eat Itself split up.

Mansell moved to the U.S. after the breakup. He then proceeded to write the score to the movie Pi, and he produced a limited-edition U.K. remix 12" of the movie's theme. In addition, he has worked with Trent Reznor, both helping with remixes and appearing on Nine Inch Nails' album The Fragile, and has pursued film scoring aggressively, including the scores for Requiem for a Dream, Moon, Noah, The Fountain, Stoker, and Black Swan, the latter of which received a Grammy nomination. Mansell delivered more critically acclaimed scores in subsequent years, including those for Ben Wheatley's cinematic adaptation of J.G. Ballard's High Rise, the live-action remake of Ghost in the Shell, the first fully painted animated film Loving Vincent, and a short score for the Emmy Award-winning San Junipero episode of satirical anthology series Black Mirror. ~ Joshua Landau

  • ORIGIN
    Coventry, England
  • BORN
    Jan 7, 1963

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