The first collaboration between Yair Elazar Glotman (Berlin) and Mats Erlandsson (Stockholm) started back in 2015. Their first joint album was released in 2017 on Miasmah Records. „Negative Chambers“ was created on traditional acoustic instruments. It was one of the best ambient/drone records in the class of 2017 and also reviewed here.
Both proliftic composers are fimiliar with collaborations. Yair Elazar Glotman was heavently involved in the Jóhann Jóhannsson composed soundtrack „Last and First Man“ on the german imprint Deutsche Gramophon. Mats Erlandsson on the other side works on different projects. For example the last two records from Maria W. Horn (Epistasis, Kontrapoetik) and his own fantastic EP „Hypodermic Letters“. With their new release „Emanate“ they try something different with a wonderful ensamble in the background. They follow-on with their ideas of a „displaced sound“ and combining electronic and accustic sounds, both analog and digital. In our fast living word „Emanate“ feels like a foreign body. It‘s a very fine-detailed record. Everything starts with „From Light To Refrection“ a slow starting intro and drone-based background. After a period of time they added strings and orchestra parts. The classical elements here are very detailed in the brackground. The record himself was divided into nine parts and was envisaged and recorded as one long single piece. The structure in „Emanate“ follows a three part palindrome A1 – B1 – C – B2 – A2. Each track will followed by an „Interlude“. Because of that structure it‘s difficult to pick an single track as a highlight. In terms of atmopshere it could be compared to Hildur Guðnadóttir‘s „Chernobyl“ score or Jóhann Jóhannsson‘s „The Miner‘s Hymns“. It‘s hard to describe in words and has to be listened by yourself. „Emanate is a texturally rich, deep spectrum exploration that flows and unfolds almost seamlessly throughout it‘s fifty-minute span to create an energy field which feels simultaneously static and yet continually shifting (Bandcamp)“.
As a sound artist and composer Holm started back in 2014 with his first record „Andøya“ it was made from contact mic recordings of pylons carrying communications cables that connected listening stations on an Arctic Norwegian island. Eric Holm‘s new album reflects on his time spent underwater. A series of field recordings captured both above and below the surfaces.
With his new album „Surface Variations“ Holm creates an intimate atmosphere via oceanic sounds and rhythms taken from mechanical diving apparatuses. It connects the dissonances between humanity and nature in such a perfect way. It starts with the wide open field recordings from „Phorcys“ to imagine this special underwater atmosphere. It combines nature sounds with a tone of science fiction elements. „Sagara“ starts with way more distortion and drone elements and a nice interplay between light and darkness. Here you can feel the mystery of the ocean with a sort of meditation. With „Alioth“ the main tone switches in a more dark tone area with his stomping rhythm. It‘s a very unique and special track wich such an exciting flow. „Opalescence“ on the other hand brings the light back an stage. With a variety of elements here. It feels a bit weightless, like you are lost in space or between two worlds with a peak at the end. Difficult to describe in words but it reminds me on the last William Basinski (One Time Out of Time) from last year. The next one „Salp“ draws a different picture without changes the album main-tone. It starts with nature field recordings and combine it with a great ambient tone. To complete „Surface Variations“ the stomping „Trifolium“ marks an great end. To describe it in just one sentence: „Driftign alone, the sea becomes a timeless space for contemplation, a place to dream of new futures whilst reconciling the flotsam of the past (Bandcamp)“. What a fantastic record, highly recommended!
Everything between Daniel Avery and Alessandro Cortini started as a collaborative experiment a couple of years ago. Avery and Cortini worked remotely out of any concept or deadline. Back in 2018 when both finished their tour with Nine Inch Nails they completed the final result „Illusion of Time“. A record with the collision of two unexpected sounds.
„Illusion Of Time“ is a powerful album rooted in trust, process and experimentation. It starts with the opening track „Sun“. A massive drone and a raw synth driven one. It works nicely to dive into the record. It floods perfectly into the album title track, one of the highlights on „Illusion Of Time“. It’s a more focussed track and way more silent then the opener. The melody is the key element here. With a small amount of distortion and noise, it’s such a beautiful track. „CC Pad“ picks up the slower tempo from the predecessor. It‘s more like an ambient track and together with „Space Channel“ it works more like a bridge between this and the next one. With „Inside The Ruins“ the album tone switches again to a more dark and uncomfortable picture. It’s a pulsing and impressing track at the same way. „At First Sight“ and „Interrupted By The Cloud Of Light“ catches the key elements from „Illusion Of Time“ as two great ambient tracks before „Enter Exit“ smashes the stage. It‘s clearly a Cortini infected track. Such a beast of a track! Next to last is „Water“ an ambient track that drifts away sometimes but still keep his foundation. It shows in such a great way the strength of this record. As a heavy synthy based record it never feels monoton. The record fades out with the closing part of „Stills“. „Illusion Of Time“ delivers a great varity of sounds and spectrum, thanks to Avery and Cortini for such a nice collaboration.
Brooklyn-based cellist and neo-classic artist Clarice Jansen released one of the most relevant records in 2020. After her critical acclaimed debut „For This From That Will Be Filled“ back in 2018, Jansen comes back with a more Drone influenced record. Different as the predecessor, it‘s entirely written and performed by Jansen itself with a high variety of effects and pedals.
With her new album „The Experience Of Repetition As Death“ Jansen debuts on the well known FatCat records imprint. The record was mixed by Francesco Donadello (A Winged Victory For The Sullen) and mastered by Rafael Anton Irisarri at Vox-Ton studios in Berlin back in 2018. Jansen works with a bunch of stellar artists in the past, including Jóhann Jóhannson, Max Richter, Dustin O‘Holloran and Stars Of The Lid. She also works as artistic director of the well known ACME (The American Contemporary Music Ensemble) to develop modern classical music to the next level. As a solo artist Jansen is an expert to improvising and layering her instruments through loops and electronic effects with a rich series of drone-based sound fields. With her new record Jansen reaches a new level of this evolution. It starts with the massive cello foreground in the opening track „Daily“. It‘s a more neo classical one that‘s divided into two parts and fading perfectly into the second track. „Day tonight“ starts with a dark-tone drone intro. The reference to earlier works from Rafael Anton Irisarri isn‘t unmistakeable. It‘s a balance between darkness and light and the shades between. With „Metastable“ the drones are more present and frightening. It was inspired by the chorus of repetitive beeping heard in hospitals. The beeps here integrate themselves into a single loop. But one of the most dramatic parts of the five pieces is „Holy Mother“. For me it‘s the center and masterpiece of the record. It starts with a dramatic Cello part before the drone elements kicks in. The switching between fore and background is pure beauty. The title refers to the Tibetan name of Mount Everest (Qomolangma). With a runtime about 12 minutes it is also the longest track of the record. It‘s a monument of a track! With the closing track Jansens picks up the tape loops from the opener, but this time with the tape having been subjected to methods of degredation in order to erode the sound. It ends with a quartet of cellos and a warm melody without effects and a perfect fading out. „The Experience Of Reputation As Death“ is a powerful record between neo classic and drone elements. What a journey!
Back in February, the Indianapolis based record label Past Inside The Present signed a new artist called T.R. Jordan, former known as The Greatest Hoax. The Washington based composer debuts with the contemporary classic album “Just For You”. It’s a very unique record about the evolution of personal relationship and the paths they take.
„Just For You“ is an record that fits perfectly in these unpredictable times. It‘s a very intimate and personal one. Nowadays there a lot of contemporary classic albums out there, but only a few of them shines as bright as this one. Produced and mixed by Rafael Anton Irisarri (The Sight Below, Ghostly International) and mastered by Taylor Deupree (12K Mastering). The details in arragements and behind the scenes are very impressive. Each track has it‘s own identity. All of it starts with the slowly piano keys of „Unsaid“. This piano leads the track the hole time in cooperation of the ambient base line. Drone meets ambient meets neo classic. „Bruised World“ picks up the mood and sets the piano more in the foreground. Later on additional strings matches perfectly. A very beautiful stripped down / acoustic track. The next one is „Leap of Faith“. A clearly more ambient oriented track that fits perfect as the album main part. Next up is one of my favourite tracks on „Just For You“. „Reflection“ shines from start to finish. On one hand the track is very simple and works with just a few arrangements. But on the other hand these kind of simplicity here is the key. It‘s still the most intense moment of the hole album. The album closer „Rise Again“ and „Still Yours“ are not less impressive and complement the album in a great way. The six tracks presented here are spellbinding contemporary classical overtures of such spectacular beauty they seem destined to score the most humanistic moments of sci fi (Juno Records).
If you look at the Star Wars Universe nowadays, it’s difficult. Maybe some of you wondered that there are no reviews about the past movies. For some reasons: Since Rogue One, Disney releases Solo and the last two Episode’s of the Skywalker saga (VIII, IX). For me Solo wasn’t that bad movie but in case of Episode VIII almost everything goes wrong.
In case of Solo, A Star Wars Story we saw a background story of Han Solo. Some hints of that story you can find in the old triology. The legendary Kessel Run (“In less than twelve parsecs”) or the story how Han get’s the Millenium Falcon from Lando. Yes, you can tell these background story’s, but as a fan of the old triology it might be better to hold them back (For some kind of mistery). In case of Disney, they want to make the most of them and that’s not a good thing. The new triology (VII – IX) is the best example. “The Force Awakens” feels like a simple copy of “A New Hope” and “The Last Jedi” destroy ‘s everything we liked from the old triology. It’s very difficult to take it seriously. Since 2015 we saw five different Star Wars movies. That’s a lot.
As “Solo, A Star Wars Story” doesn’t provide that expected sucess, Disney made a strategy switch. The plannend Boba Fett movie was canceled and transformed into a live action tv series. Because of the lower risc and the possiblities in tv shows nowadays that could be a great decission. “The Mandalorian” was born. It’s not a story about the most famous Bounty Hunter Boba Fett, it’s a story of an unknown Mandalorian. The thing is, The Mandalorian isn’t a bad tv show. It has some great ideas. In mind here some examples: The opening bar scene, the java sand crawler return, some amazig desert views, Nick Nolte’s character as Kuiil or the so called “Baby Yoda”. The show starts a bit rough and most of the episodes are about less then 30 minutes. I guess that’s also the reason why Disney called it a live action tv show. And here is the first critic, The Mandalorain suffers about content. Don’t get me wrong, I like the idea to tell something new, but could it be better with Boba Fett? I guess it could. To bring old characters back could be great idea, if you look back to “Rogue One”. The most important thing here is to find the right balance between old and new content. In some cases The Mandalorian looks a bit uninspired, if you look forward to the last section of season one. As an example the returned droid IG-11 played by Taika Waititi. He died in the first episode and returned as a service droid instead of a mercenary. With Kuiil it’s similar and that’s a bit sad because it was a character with some potential.
The Mandalorian should be a space western, that space western that Solo, A Star Wars Story couldn’t be. And yes in some points it’s that kind of space western, but it could be way better. The reference here is Firefly from Joss Wheden. Both the tv show and the follow-on movie delivers a perfect balance between humor, characters and a story that’s worth it to be told. In case of Mandalorain it’s a bit diffcult. Without the Star Wars branding it’s only a further science fiction tv show and I don’t believe with the same attention.
Everything started back in January last year. Me and my brother decided to do a long holiday together, just for the entire December. The first time to celebrate christimas and nye not at home. The only question was, where? There were some options (caribbean, south america or australia). At first we don’t have Bali in mind, but we also do not want an entire beach holiday and that’s why we make the decision to Bali.
Bali has everything we wanted: A great landscape, beaches and a culturel fascination. We planned our trip far in advance with some benefits but also some drawbecks. You don’t know in advance which places are great and which aren’t that great. So you aren’t that flexible. But that wasn’t that bad.
Canggu (Day 1 – 10):
We started our trip from Frankfurt with the shortest Check-In, Security check and Passport control I have ever experienced. All around 20 minutes, that’s crazy german organization management. It was also my first long distance flight ever, but all works totally fine also at Bangkok Airport. My first shocking moment was at our arrival at Denpasar Airport. We enter our airport transfer and the first I have noticed was my smartphone was gone. I guess the complete vacation wasn’t the same if I couldn’t found it again. Fortunately it only slides in between set and door. Crisis averted! Arrived there we first see the traffic madness. Left handed traffic is one of the things, but with all the scooters on the road it’s completely crazy. There are no traffic lights or any speed indicators! They drive without rules, but it works. That’s kind of fascination. We arrived at our first spot in Canggu, the Gipsy Moon Hostel. It’s a small but pretty nice hostel with a friendly enviroment. We had our own private house there. It was amazing. The good thing was, it wasn’t that far away from the beach, but walking was an adventure because there aren’t sidewalks everywhere. We spend our first evening at La Brisa (Batu Balong Beach). Coincidentally it was also one of our favourite locations there. It’s an amazing nature builded beach club at Batu Balog Beach in Canggu.
To discover the culturel aspects of Indonesia you have to visit their spiritual tempel areas. There are a lot of them all around Bali. To visit a temple you have to wear traditional clothing. There are two options, renting or buying. We decided to buy our own at a market near Canggu. Our first spot was Pura Tanah Lot temple on the west side of Canggu. Our imagine was a bit different, because there is no direct entry to the temple it self. It’s more for the hole area. On the way back to our hostel we saw some promotion about the first Boiler Room Party at La Brisa Bali, the same location we visited the day before. The Boiler Room series is own of the most popular DJ set series around the world. Artists like Four Tet, Jamie xx or Tom York played one of their favourite tracks in the past. The main act for the evening was Gerad Jansen (I only know him for some complations). The crazy thing there was you can do both, jumping in the pool or dancing.
At the next day we started slowly. Just relaxing at the hostel’s pool and enjoy the sun. By the way there was no day were the temprature falls under 30 degrees. Sometimes it was tough to be outside in the midday sun. But inside our private house the air conditions helps, “We call it, the fridge”. After a lazy start we went to the beach again. On that way we take a dinner break at Fancy Pancakes. To late for breakfast we choose the coloring burgers. Not bad, but we will find some better spots to eat burgers. On the way to the beach we would like to buy sim card, but unfortunately they didn’t work with our phones. We can’t solve it the entire vacation, but wifi helps (sometimes).
Normally I’m a sporty guy, so I want to go jogging at Bali. But it wasn’t that easy because of the traffic madness and the missing sidewalks. The only option was the beach. Running at the beach was a tough thing, so the following recovery at the pool was totally chill. At the next day we decided to do a short trip to Seminyak. It‘s not to far away from Canggu. It‘s more like a tourist area with all the shops near Seminyak Beach. We enjoy the waves and had a great day at the beach. For dinner we have checked in at Bossman Burgers, one of the best burgers around Bali.
Our first week ended with a daily trip to the south side of Bali. We discovered the Sulban surf beach, a small beach area perfect for surfing. It‘s an exciting place with all the cliffs and caves around the beach. Later that day we visited Uluwatu Temple, with one of the greatest views to the ocean. You can feel the salty air around the ocean but be careful about the playing apes around the park. To complete our first week on Bali we go to Old Men‘s Beach Club. Yes, it‘s a tourist location in Canggu but maybe one of the best places for a party at the beach. Every wednesday there is a big DJ set. It‘s a good place to have a drink or two. Our next day started slowley at the hostel before we discoverd some side streets near Canggu. On a search for a good breakfast we found a small restaurant called Roti Canai Street Kitchen. Not easy to identify from the outside, but it‘s that worthy. It‘s an Indian restaurant and the breakfast is a combination about English and Indian breakfast. It was so good! For our last day in Canggu we visited the Cocoon Beach Club at noon. Later at the evening we switched to a party at Potato Head Beach Club. It‘s a crazy location with one of the most impressive entries I have ever seen. Is it a dungon?
Nusa Penida (Day 11 – 20):
We started our second chapter around Bali at Nusa Penida. It‘s a small island just a few minutes away from the main island. Compared with Bali there is much less traffic and everything feels a bit more relaxing. Nusa Penida shines with all of the great locations to explore. There are some of the most beautiful beaches. First we checked in at our second hotel, the Kompyang Cottage. It‘s a beautiful cottage and we missed nothing there. The entire area was great. One of the best places for relaxing. Our first trip at Nusa Penida leads us to the Crystal Bay Beach. It‘s a small one at the west side of the island. The most difficult thing there is the transportation, because of the small roads. Driving at Nusa Penida could be a bit risky, so to rent a local driver isn‘t a bad decision.
One of our most exciting acitivities was also at Nusa Penida. Our plan was a daily tour to Kelingking Beach and Tembeling Beach and Forest. To visit these locations can‘t be a big deal, or? Most of the tourists visited Kelingking Beach only to capture a great shot for their instagram account. But you can do more. Yes, it‘s possible to go the whole way downstairs (more cliffs then stairs) to the beach. We have no idea what we can expect. The way down wasn‘t that exhausting but you have to be concentrated. Arrived at the bottom you found one of the most impressive beach areas I have ever seen. Unfortunately swimming wasn‘t possible because of the heavy waves (up to 3 meters). Because of the bay structure the waves breaks just a few meters before the shoreline. All the way upstairs was a tough climbing. Normally I do not climbing, so I wear my normal running shoes. And yes there were also people with flip flops or barefoot. Not mentioned by my side. Climbing at these conditions (32 degrees, noon) was a tough experience. My decision was, to do it with speed and power, but I also reached the limits at the end, so we both needs a longer break after the climbing.
Another highlight at Nusa Penida was our tour to Amok Sunset. First, the driving was crazy. No I can‘t describe it well, you have to see it by your own. The roads are tiny and the abyss near. Just before our arrival their you can‘t imagne that something like that will be exist their. It‘s an amazing place with an outstanding view to the ocean. It , wasn‘t the best day by weather conditions (rain shower at afternoon), but we have a lot of fun. Ok, we also ordered a lot of beer buckets so maybe there is a connection. Maybe one of the best day‘s at our whole trip. To visiting Nusa Penida was a good decision, but maybe 3-5 days would be enough time to explore the small island.
Ubud (Day 21-31)
Our last stop was in Ubud, it‘s more in the center of Bali. The area was also a bit more like a jungle. Everything is green there. In Ubud we stay at the Udaya Resorts and Spa, an amazing location just a few kilometers away from the center. But that‘s not a big deal because of the free shuttle service. Our first stop in the center was the local market. Their are a lot of shops around, so you should be carefully because you can find something a few meters ahead for just half of the price. But I guess that‘s a usual thing. The other thing is, it‘s easily to get lost. We also visited the palast of Ubud, but we decided not to buy it because of all the tourists. Our first daily trip goes to Mount Batur and the rice fields at Tagallalang. We do the mountain climbing in the early morning, so we could see the sunrising at 6 o‘clock. If you do not climbing before that‘s definitely an adventure, but you will be rewarded at the top. Climbing all the way down was a lot easier but tiredness was a bigger problem. Yes, we also see the rice fields at Tagallalang but only for a few minutes. I recommend to visit both places separately. We do a short break between this and our next trip. At our next tour we visited the Gunung Kawi Temple, Hidden Canyon and the Tegenungan Waterfall. It was also a tough tour. For me the highlights were the Gunung Kawi Temple and the Hidden Canyon. Both locations are beautiful. But one hint, I definitely recommend some kind of shoes for the Canyon tour because barefoot it could be very stressful. But there are great guides to help you with the tricky climbing parts.
For us Ubud was a great place, but we missed the possibilities from Canggu. Sometimes we take a drive to Canggu or Simenyak. This doesn‘t mean Ubud was‘t that great but it was also more an area full of resort locations and tourists. To spend new years eve not at home was also an new experience. We celebrate it at our first location in Bali, the beautiful La Brisa. I never saw a firework at the beach. After 4 weeks at paradise we have to go back to Germany, but we both realy enjoy our trip to Bali an adventure from start to finish!
It‘s been a while since the last record from Dustin O‘ Halloran and Adam Wilzie as A Winged Victory For The Sullen was released. Their last effort „Atoms“ was released in 2014 on their long time collaboration label Erased Tapes. For the new one they switched to the larger imprint Ninja Tune. „The Undivided Five“ has a long not terminated creation process that starts in the beginning of 2018.
Unbound by any timeline Dustin O‘ Halloran and Adam Wilzie starts with the work on a new A Winged Victory For The Sullen record in spring 2018. The creation process involves many different locations around europe. All of the Orcestra recordings were done in Budapest (Hungarian Radio). A place from history were time stands still. As discribed by Adam Wilzie, it‘s never easy to take a great recording. Many things has come together. It isn‘t planable. Back in Island (Greenhouse Studios) they do some experimental recordings together with Ben Frost. Some works on the arrangements and manipulation of loops. The third recording location takes place in a church in Brussels (Saint-Jean-Baptiste Au Beguinage). They capture the sound of the church by a three set of mics and some speakers. To combine all of that, they to the mixing at Vox-Ton Studios in Berlin. With the help of Francesco Donadello they put all pieces together. But how does it sound? In a short form, fantastic. But that‘s a review so we start with the monumental 8 minute opener „Our Lord Debussy“, were the piano fades in. It‘s a perfect combination between Drone and Neo classic. A journey with many different attempts. It goes on with the ambient tone of „Sullen Sonata“. A more floating, warm melody and string driven track with some up and downs. It leads perfectly to the piano sequence of „The Haunted Victorian Pencil“. It‘s a gorgeous piece of music. After that the album re-creates space, to slowly evolve „The Slow Descent Has Begun“ were strings fades in and changes the tone quite carefully. The next track „Aqualung, Motherfucker“ starts with a wide opening until the piano drops in. The track is seperated in sequences, were drone elements are permanent in the background. „A Minor Fifth Is Made Of Phantoms“ sounds like far away. It‘s a melancholy/sad one that plays with emotions. Sequenzing is one of the main parts of „The Undivided Five“ and „Adios, Florida“ is another perfect example. Nevertheless of complexity it doesn‘t feel overloaded. A late highlight comes with „The Rhythm Of A Dividing Pair“ with a synthie driven melody and a heavy done second part of it. The closing track marks a worthy completion. It sounds like a farewell. Hopefully not to long. In one word: Masterpiece!
Last year berlin based scandinavian composer Erik Levander released a remarkable record called “Couesnon” for Katuktu Collective. Just after one year of absestence Levander returned with “Inåt” on Forwind. Levander is an mastermind for dark ambient drone records and “Inåt” is no exception!
In 2018 Levander surprised us with an unexpected release for Katuktu Collective. The extraordinary dark “Couesnon” was definitely a hidden drone gem from 2018. In a year full of great drone and ambient releases it could be easily missed, but that would be a shame. The 4-Track release is full of amazing tracks, like the opening one indicates. The new one isn’t completely different but it’s definitely more synth driven like the predecessor. The album title “Inåt”, translating “Inwards”, refers to the introspectiveness of the compositions, drawing inspiration from personal struggles in everyday life. Inåt still features a vibrant blend of digital, analog and acoustic sounds. It all starts with the gorgeous heavy Blade Runner like opener “Oförankrad”, a 7 minute dark/drone firework. The follow one “Prövning” is totaly alarming. The distortion and urgent pulsing make it the most taut and alarming piece on the album. With “År av tvivel” Levander reduces the tempo and volume a bit to provide a more oppressive and menace like atmopshere. In some parts it reminds me on the also fantastic Chernobly OST from Hildur Guðnadóttir. The second part of “Inåt” is more ambient and instrumental. “Tomhetens räckvidd” is a deep and emotive instrumental track. Erik combines electronics and woodwind with a restraint and panache that results in a beautiful and understated piece of music. But that’s not all, the album closes with the epic sounded “Celestografi”! Is there any better way to close an album? I guess not. What a journey, thanks Erik!
Every superhero needs his antihero! One of the most famous comic books rivals in history is Batman vs. Joker. Until now one of Jokers most iconic roles was played by Heath Ledger in Christopher Nolan‘s „The Dark Night“ from 2008. Joker‘s role wasn‘t discribed like that before.
All of the Batman movies from the past described the Joker character only on the edges. Most of the background stories stay hidden. One of the best Batman movies „The Dark Night“ shows us a bit more. The inner disunity and indifferences was matched with a shiny madness. That‘s the effort of Heath Ledger‘s amazing role play. Until now it‘s one of his most controversial roles. Just before the release of the movie no one, except Nolan believes on the success. The result is one of the best played Joker role in the history of Batman movies.
The risks of a standalone movie aren‘t low. Just the Star Wars francise faces the same issues if you look at „Solo“. It rises and falls with the story himself. There are two questions in common: Is the story good enough? And, should this kind of story be told? If the director told us to much, this could demage the mistery of the character. In case of Joker director Todd Philips finds the right balance. The story starts relatively slowly for one good reason: Character devolopment. The audience can follow the complete transformation from Arthur Fleck to Joker played by Joaquin Phoenix. This transformation is credible and comprehensible. Nowadays especially high budget movies suffer at this important point. It should be said that Joker wasn‘t a mainstream movie. This can be recognized by the screenplay and the story. It‘s more like an arthouse production.
Just the presentation of violence encounters many criticisms. For me that‘s not a big issue because most of the developments in the movie are comprehensible. Joaquin Phoenix (Gladiator, Her, Walk the Line) interprets the role a bit different compared with Heath Ledger. But the inner conflict and the missing acceptence in the society was shown very good. Without any spoiler of the movie, it‘s also the description about how much things can a person handle without any explosions.
But there is one more thing here. The hidden star of the movie. It‘s the original score from Icelandic artist Hildur Guðnadóttir. She is also known for the fantastic score of Chernobyl (HBO). With Joker she choose a more classical approach without losing any dramatic peaks. As a spectator you will recognize the soundtrack at some points, but it stays more in the background of the movie. Maybe that‘s because of the running story and conversions. Therefore it‘s worth to listen to the soundtrack at it‘s own. It could be helpful if you are a bit fimilar with classical music. If yes the original score is highly recommended. Just in the last section the dramatic will reach it‘s peak. „Call Me Joker“ sets a marvelous end for both the movie and the soundtrack!