It’s big, ominous, sometimes beautiful and often eerie — think Blade Runner or Annihilation — not to mention unsettling at times. – Brooklyn Vegan
Invada Records and Lakeshore Records have released the soundtrack to In The Earth, a film by Ben Wheatley, original music by Clint Mansell — available now digitally worldwide! The original music is both luminous and ominous with rich, organically inspired flourishes that inhabit a pronounced place in the folk horror film.
Lakeshore Records released the album digitally in the Americas and Invada Records in the rest of the world.
The NEON film, written and directed by Ben Wheatley, and produced by his ROOK FILMS production company, is now playing in U.S. theaters April 16, in the UK in June and the rest of the world TBD. The film is now Certified Fresh on Rotten Tomatoes!
In the Earth’s bleak kaleidoscope of horror is a hallucinogenic meditation on the residual pandemic fears that haunt humanity. – Dread Central
01. Mycorrhiza [60-250 Hz]
02. Spirit Of The Woods
04. The Forest
05. In The Earth I
06. Mycorrhiza [250-500 Hz]
07. In The Earth Ii
08. The Mist
09. Mycorrhiza [2-4 Hz]
10. Hammer Of The Witches
11. Spiritu Venio Silvarum
12. Return To The Green
13. Standing Stone
14. In The Earth Iii
15. Parnag Fegg
16. The Woods
ABOUT CLINT MANSELL
Composer and musician Clint Mansell started his musical journey in his hometown – Stourbridge, England. As frontman of Pop Will Eat Itself, Mansell released seven albums between 1987 & 1996 and notched up 11 Top 40 hits. The band splintered at their peak to pursue various side projects, with Mansell leaving for New York.
A chance introduction to Darren Aronofsky in NYC led to Clint’s film score debut, the acclaimed independent movie, Pi (1998). This director-composer union continued with Aronofsky’s ambitious follow-up, Requiem for a Dream (2000). Mansell’s unique approach to composing combined with the success and acclaim of these scores quickly made him an in-demand composer and prompted his move to Los Angeles.
Mansell’s soundtrack of Aronofsky’s third film, The Fountain (2006) earned him a Golden Globe Nomination (Best Original Score). Reuniting with Kronos Quartet and bringing in Scottish post-rockers Mogwai, it was also the work that received two awards at 2007’s World Soundtrack Awards (Best Original Score & Public Choice Award), among other plaudits. After The Fountain came The Wrestler (2008), Black Swan (2010) and Noah (2014).
In addition to the long-standing director/composer collaboration with Aronofsky, Mansell kept his options broad and authentic seeking out and building relationships with a host of like-minded creatives.
Clint provided the score for Duncan Jones’ award-winning directorial debut Moon (2009) and more recently for Mute (2017). He’s worked with Massy Tadjedin’s on Last Night (2010) and again on Berlin, I Love You (release TBC). Filth (2013), the film adaptation of Irvine Welsh’s novel, directed by Jon S Baird, was also scored by Mansell. Director Parks Stoker chose Clint for Stoker (2013).
He scored the remarkable hand painted and Oscar-nominated Loving Vincent (2017), and the double Emmy winning San Junipero (2016) episode of Black Mirror for Charlie Brooker. Following on from his Ivor Novello nominated score for Ben Wheatley’s take on J G Ballards ‘High Rise’ (2016), Clint and Ben worked together again on Happy New Year, Colin Burstead (2018). His first project working with Carol Morley, the noir, offbeat, Out Of Blue premiered at London Film Festival and saw its released in 2019. In 2020, he collaborated again with Wheatley on score for Rebecca. The list goes on.
Clint’s musical collaborations are intentionally varied. Peter Broderick vocals on a track from Last Night, Emily Wells on a song from Stoker. Eliot Sumner added vocals for his rework of Radiohead’s ‘Creep’ which features in Filth, and Lianne La Havas features on Loving Vincent. Off-screen, he has arranged for Editors, produced for Biffy Clyro and remixed for Foals. A Sony commercial allowed him to score piece for, and record with Leonard Cohen.
Mansell was always keen to take the scores to the stage – giving the music different context and a new layer of emotion. Early shows at Union Chapel in London and Largo in Los Angeles led to sold-out shows at The Royal Festival Hall, The Barbican, The Orpheum, to name a few.
Self-taught, innovative and difficult to define, Mansell is a prodigious talent who’s never been more keen to collaborate, push forward and experiment with his music and creative relationships.
In just over three years, NEON has garnered 12 Academy Award® nominations, 5 wins, including Best Picture, and has grossed over $150M at the box office. The company continues to push boundaries and take creative risks on bold cinema such as Bong Joon Ho’s Parasite, which made history winning four Academy Awards®, becoming the first non-English-language film to claim Best Picture. The film, which also unanimously won the Palme d’Or at Cannes, has amassed over $53M at the domestic box office and broke multiple records including highest per screen average of the year and highest per screen average for a foreign language film of all time. NEON has amassed a library of over 50 films with noteworthy releases including: Tamara Kotevska and Ljubo Stefanov’s award-winning and record-breaking Honeyland, which is the first non-fiction feature to land Academy Award® nominations for Best Documentary and Best International Feature Film in the same year; Todd Douglas Miller’s Apollo 11, 2019’s highest grossing documentary with a worldwide gross of $16M; Tim Wardle’s Three Identical Strangers, winner of the Sundance Special Jury Award for Storytelling which surpassed $13M at the box office; and Craig Gillespie’s I, Tonya, which garnered multiple Academy Award® nominations, one win for Allison Janney and amassed over $30M in domestic box office.
The company has several projects in various stages of development and production, including Pablo Larraín’s Spencer starring Kristen Stewart; Ben Wheatley’s Horror Film In The Earth which will make its World Premiere at the upcoming Sundance Film Festival; and The Painter and the Thief narrative remake. NEON continues to be an impressive force, with recent acquisitions such as: Andrei Konchalovsky’s Dear Comrades!, Russia’s Academy Award Submission; Venice’s Grand Jury Prize Winner Michel Franco’s New Order; Night of Kings, Philippe Lacôte’s Ivory Coast Oscar Submission; Pig, starring Nicolas Cage; Apichatpong Weerasethakul’s Memoria with Tilda Swinton; the upcoming documentary Gunda directed by Victor Kossakovsky and executive produced by Joaquin Phoenix; and Robert Machoian’s powerful thriller The Killing of Two Lovers. Recent releases include: Francis Lee’s romantic drama Ammonite starring Kate Winslet and Saoirse Ronan; Alex’s Gibney’s documentary Totally Under Control; Brandon Cronenberg’s Possessor; Justin Simien’s Bad Hair; Max Barbakow’s sought after Palm Springs starring Andy Samberg, which NEON acquired with Hulu; Amy Seimtz’s SXSW critical sensation She Dies Tomorrow; Josephine Decker’s Shirley starring Elisabeth Moss; Matt Wolf’s highly acclaimed Sundance documentary Spaceship Earth; The Painter and the Thief directed by Benjamin Ree; and the critically acclaimed Cannes hit Portrait of a Lady on Fire, which was nominated for Best Foreign Film at the Golden Globes® and Independent Spirit Awards.
After their successful collaboration on I, Tonya in January 2018, 30WEST (Dan Friedkin’s and Micah Green’s strategic venture) partnered with NEON’s Tom Quinn (Founder & CEO) and Tim League (Co-Founder) to become majority investors in the company.
As the world searches for a cure to a disastrous virus, a scientist and park scout venture deep in the forest for a routine equipment run. Through the night, their journey becomes a terrifying voyage through the heart of darkness, the forest coming to life around them.
Wheatley notes: “It’s always a treat working with Clint. In The Earth is our fourth soundtrack together and the most experimental. I often write scripts with actors in mind but this was the first script that was written with the music specifically in mind. From the start I knew I wanted a Soundtrack that would be both Diagetic and Non Diagetic. That would allow Clint to stretch his legs sonically and have the score front and foremost. This film is partially a concert movie, with Clint being the sound of Doctor Wendle’s experiments.
This is also pure Mansell sound from his studio. There’s little arranging in the traditional sense. No orchestra to interpret it. This is from his hands. I love this score. Play it LOUD :)”