[Nicolai P. Zwar]

So do I. Just not on album.

As I said, most people don’t even listen to any film music at all. So that’s ok. I think THE TERMINATOR is excellent as pure music.
I remember I listened to the album once during a longer night drive on the Autobahn (partly through Belgium) and it was just the perfect album for that drive.

Similarly, I’ve been taken by Mica Levi’s static, original, sometimes eerie textural soundscapes in films like UNDER THE SKIN, JACKIE, MONOS and THE ZONE OF INTEREST. But sampling these on album has been very difficult, to put it mildly. There’s nothing for me to latch on to — textures are too static.

And with the exception of JOKER (which I do like and own on album), I’ve had similar issues with Hildur Gudnadottir’s work. Fascinated by her sounds in films or TV shows like SICARIO: DAY OF THE SOLDADO, CHERNOBYL and TÀR. But find no to little value in them as albums.

Ironically, I think UNDER THE SKIN works very well as pure music on album. While I have it, but I’ve never actually seen the movie, so I don’t know how well it works as film score. But it’s good as pure music. A sort of Penderecki meets Herrmann soundscape.
But as I said, if I didn’t think a film score worked as pure music, I would personally never call that music great… just serviceable. Levi’s album for UNDER THE SKIN works great as stand alone music I think. Same with SICARIO: DAY OF THE SOLDADO, works good as film score and on its own.