Most of what you hear on the album is used in the film. So, that was a big purpose. I’ve got a lot more material, but I didn’t want to release stuff that wasn’t going to be used in the film. There are a couple pieces that aren’t used that are in there, but I really thought they needed to be there.
It is a very fragmented kind of film score. I didn’t really go into it certain of what we were going to come out with and I kind of felt that, to some degree everyone, was kind of feeling around in the dark trying to find what was out there and these were the things that the picture required. There’s quite a distinction between some of the pieces, there’s a lot of the very drony pieces that never exist in the film in their entire.
Well, talent sure seems to run in the Cronenberg family, what with Brandon “Son of David” Cronenberg making waves with diseased horror Antiviral. Equally disturbing is the film’s score by E.C. Woodley, which paints a nightmarish aural image that I imagine is quite effective in the film. Blurring the lines between score and sound design, Woodley’s soundscape is a dissonant and eerie experience that might just keep you up at night.
READ THE FULL REVIEW AT LOST IN THE MULTIPLEX: http://lostinthemultiplex.com/extras/features/item/3548-soundtrek-review-round-up-#4.html
With Annihilation, the duo crafted a mind-altering soundworld with acoustic guitar, orchestra, a touch of electronics and a four-note motif. – Andy Beta, Rolling Stone
Alex Garland’s Annihilation is one of the most talked-about films of the year, and that also extends into the score by Ivor Novello Award winning and Emmy® nominated composer Ben Salisbury and Beak>/Portishead’s Geoff Barrow. The obsession and veneration expressed by movie and film music critics alike appears insatiable, and to add to the buzz is an interview with Andy Beta for Rolling Stone, who tracked down the composing duo in their Bristol homes! Have you listened to the album or seen the film yet?