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Colin Stetson - Color Out of Space makes 'Film School Rejects: 20 Best Movie Soundtracks Released in 2020'

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Film School Rejects Charlie Brigden writes……This article is part of our 2020 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from this very strange year. In this entry, we're listening to the best movie score soundtracks of 2020.

I don't need to tell you how tough 2020 has been for all of us, but one bright side is that the music coming out of cinema has been fantastic. With the change in film exhibition due to the COVID-19 crisis, the playing field seems like it's been leveled, and a lot more independent film scores are getting noticed instead of the usual blockbuster blackout. And from that, the kind of scores we've been blessed with - synth-heavy, delicate chamber music, symphonic brilliance – -have been amazing.

It could still be better for female composers being given opportunities, as male composers are still heavily favored, but with scores like Tamar-kali‘s Shirley, Hannah Peel‘s The Deceived, Gazelle Twin‘s Nocturne, Isobel Waller-Bridge‘s Emma, and Aska Matsumiya‘s I'm Your Woman, plus Hildur Guðnadóttir‘s ground-breaking Oscar win for Joker, the future is certainly bright.

(We also saw the loss of an absolute legend in the industry in 2020, the great Ennio Morricone, but thankfully, with the sheer amount of music he wrote, there is still much to explore.)

This year's list has a good mix of drama, adventure, horror, and even the occasional super-villain, along with some great archival releases, as usual. There's plenty to go around, so let's celebrate the wonderful music the year has given us. Among the 20 best movie score soundtracks released in 2020 is; Color Out of Space (Milan Records).

Having become one of the composers du jour for the horror genre after Hereditary, Colin Stetson‘s score for the H.P. Lovecraft tale Color Out of Space is a decidedly entrancing work that embraces the underlying sense of dread that always seeps into Lovecraft's material. In the beginning, Stetson's music feels innocent enough, but it soon begins to embrace an unknown presence that, true to Lovecraft, drags us screaming into the gaping maw of cosmic horror, with hair-raising synth lines zipping around like the motorbikes from Tron while brass instruments sound like they're being existentially tortured. There's something majestic about what Stetson has created that helps push Lovecraft's themes about the insignificance of humanity, and something even braver about taking all of that and crushing it in a sonic meat grinder.

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