[Nicolai P. Zwar]

Yes, I think that’s where we fundamentally disagree. I marvel at the way Mica Levi just used a single, descending chord (that runs its course, then restarts again) to describe the alien’s deadly seduction in UNDER THE SKIN. It’s original, it’s fresh, it’s something that lifts the film. Or how those low-register rumblings created an uneasy, nervous atmosphere throughout the narrative. When assessing it as a filmatic tool, alongside acting style, effects, editing, sound design, it is – as far as I’m concerned – a GREAT score. Not merely serviceable, but GREAT. A fundamental reason for why the film is somewhat of a modern sci fi/horror classic.

It’s good music, period. Which is why I enjoy it outside of the movie, which I haven’t even seen.

However, when I try/tried to listen to it outside its movie, it just went on my nerves. It was monotonous, boring, static, aggravating. Nothing great or pleasurable about it. Not something I want to listen to again, not something I want to own.

Interesting, as I said, I had a different reaction to the music. As I said, I found it original and fresh, which is why I enjoy it on album. Without even having seen the movie, so I don’t know how well it works as a film score.

What do you think of Penderecki’s “Threnody for the victims of Hiroshima” or Ligeti’s “Atmospheres”, concert compositions that obviously inspired Levi’s score for UNDER THE SKIN?

I think then that becomes more a personal choice of what one likes to listen to as music.

I should mention here then there are quite a few people that like Mica Levi’s soundtrack album on its own, it’s even listed with excellent listener reviews on “Album of the Year” (https://www.albumoftheyear.org/album/14602-mica-levi-under-the-skin-ost/user-reviews/).

So as I noted, I personally would never consider a score “great” that does not work foremost as music first. UNDER THE SKIN obviously does.