A man in California is haunted by the memory of a pop song from his youth. He can remember the lyrics and the melody. But the song itself has vanished, completely scrubbed from the internet.
This is a perfect podcast episode, and now I really miss Mystery Show.
Alongside filmmaker Josh Safdie, composer Daniel Lopatin sat down with us to detail the creative discoveries behind his synth-packed score for ‘Uncut Gems.’
The score is such a big part of the cosmic magic in Uncut Gems, and this short documentary does a great job at exploring some of its highlights in detail.
What happens when you get a kid from Brooklyn, a radioactive spider, and some leitmotifs and mix them all together?
Colin Morris, for The Pudding:
What does this have to do with pop music? The Lempel-Ziv algorithm works by exploiting repeated sequences. How efficiently LZ can compress a text is directly related to the number and length of the repeated sections in that text.
Clever and well-executed dataviz porn.
Dan Golding:
Across the entire franchise, there’s still an unmistakable sound to the music of James Bond. So why does James Bond sound like James Bond? And how do you write a new Bond song?
Mathew Dyason:
Celeste is a poignant exploration of facing anxiety, helped in large part by its deeply personal soundtrack by Lena Raine. Let’s look at how the music approaches the theme of anxiety, whether by inducing it, or turning stress into something more productive.
I often listen to film and video game soundtracks to help me focus while working (including the Celeste soundtrack!). This video gets to why that works so well. The idea that stress can be positive (eustress instead of the negative distress) is a powerful concept that I wasn’t aware of.