12 Songs, 31 Minutes

EDITORS’ NOTES

The Hurt Locker was the David vs. Goliath story of the 2010 Academy Awards, a modestly budgeted independent examination of the Iraq war’s impact on a close-knit bomb disposal squad that eventually captured six Oscars. Though nominated for their musical contributions to the film, composers Buck Sanders and Marco Beltrami could argue they deserve a share of the sound awards as well — so closely is their eerie, synthetic/organic fusion score interwoven with the film’s overall sound design. At the core of their ethereal, disquieting soundtrack are instrumental performances by the composers themselves (Beltrami on significantly altered piano, Sanders on ghostly, wafting guitar), augmented by a dozen skilled session soloists operating in a studio environ where experimentalism was freely encouraged. The resulting musical score contains but the barest traces of traditional themes and musical motifs, wed to fleeting wisps of Middle Eastern modalities in a digitally manipulated soundscape that’s responsible not so much for the film’s sense of time and place as it’s impressionistic, oft-unsettling emotional core.

EDITORS’ NOTES

The Hurt Locker was the David vs. Goliath story of the 2010 Academy Awards, a modestly budgeted independent examination of the Iraq war’s impact on a close-knit bomb disposal squad that eventually captured six Oscars. Though nominated for their musical contributions to the film, composers Buck Sanders and Marco Beltrami could argue they deserve a share of the sound awards as well — so closely is their eerie, synthetic/organic fusion score interwoven with the film’s overall sound design. At the core of their ethereal, disquieting soundtrack are instrumental performances by the composers themselves (Beltrami on significantly altered piano, Sanders on ghostly, wafting guitar), augmented by a dozen skilled session soloists operating in a studio environ where experimentalism was freely encouraged. The resulting musical score contains but the barest traces of traditional themes and musical motifs, wed to fleeting wisps of Middle Eastern modalities in a digitally manipulated soundscape that’s responsible not so much for the film’s sense of time and place as it’s impressionistic, oft-unsettling emotional core.

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Ratings and Reviews

4.1 out of 5
51 Ratings
51 Ratings
filmscoremaniac ,

Too much "ambience" and not enough music.

I understand the need for ambience, drones and noise, especially in movies like this, but I just can't listen to it on it's own. Sorry.

Herbster1970 ,

Khyber Pass

The song played at the end is called Khyber Pass by Ministry.

Neo78956 ,

Finally! One of the best scores of the year!

I was wondering if Marco Beltrami and Buck Sanders' fantastic score for The Hurt Locker would ever see the light of day Eerie, moody, and emotional, this is a very ambient score that mostly highlights the suspenseful and emotionally charged scenes of the film. The final track, "The Way I Am" is worth buying by itself. It really captures the entire mood and feelings of the film, which for my money, is the best film of the year. Definitely worth buying! Thanks iTunes!

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