Greenwood has typically spent his time off from that band he’s in turning out intelligent, nuanced work that has gone, at least by way of comparison to Tomorrow’s Modern Boxes, relatively unnoticed. Also, included, though are the non-Greenwood songs that also make it to the movie, and whilst that’s all well and good in principle - there’s certainly nothing wrong with the classic Can jam ‘Vitamin C’, or Neil Young’s ‘Journey Through the Past’ - they feel jarring set directly against the score, and only further the sense of confusion in a manner that doesn't feel intentional. Greenwood runs the stylistic gamut, though ‘Meeting Crocker Fenway’ feels huge, sweeping, whilst ‘The Golden Fang’ juxtaposes an aggressive beat with staccato guitar arpeggios.
The album runs in a different order to the film itself, although, perhaps incongruously, still includes snippets of Joanna Newsom’s narration there’s not a great deal of coherent relation to the picture’s narrative, then, and anybody who saw Newsom’s name attached to the project and hoped it might have finally heralded some post- Have One on Me material will be disappointed. Instead, it’s Greenwood’s own work that’s most compelling. Here, though, it’s been structurally reworked and recorded by Supergrass and - as Greenwood himself has admitted on Twitter - bears little resemblance to the 'half-idea' that Thom Yorke and co joined him on nearly a decade ago. Probably the biggest draw on paper here, for the Radiohead die-hard at least, is the inclusion of ‘Spooks’, which since 2006 has been part of the massed ranks of songs that the Oxford band premiered live, but never seemed to get around to recording. His work on this soundtrack sees him suddenly take something like a lurch towards convention who knew that all this time, there’s been an old-school Hollywood romantic hiding inside of the Radiohead man? This time the strings are warm, inviting, and the orchestration consistently feels like a kind of warped throwback to the golden age of the movies.
It’s a darkly comic crime caper, riddled with the eccentricities of both director and author, and therefore provides quite the platform for Jonny Greenwood - no stranger to film scoring, of course - to weave his usual magic, whipping up the kind of stormy guitar work and brooding strings that has generally become his on-screen calling card through work on the likes of There Will Be Blood and The Master.Įxcept that Greenwood, for once, doesn’t do that. Inherent Vice is the latest film from Paul Thomas Anderson, based on Thomas Pynchon’s novel of the same name. 1 "La primavera": III.Some elucidation of quite what this release is seems a sensible way to begin this review. Something Happened To Me Yesterday - The Rolling Stones.Somebody Cares - Tommy James & The Shondells.Everyday’s A Holiday - The Hollywood Saxons.Bang Bang (My Baby Shot Me Down) - The Bonzo Dog Band.So here is the soundtrack I have came up with: I wanted to make this list as specific an accurate as possible to the novel and its world.
Some Recently I’ve been reading “Inherent Vice” and have been chronicling all the music cues as I read.
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