In fact, during the production of the film, Pemberton partnered with three disabled rappers known as georgetragic, Toni Hickman, and Keith Jones, who are all a part of Krip-Hop Nation, a showcase for rappers with disabilities. The documentary focuses on disabled athletics and the Paralympic games, extrapolating those observations to comment on the larger understandings of success, disability, and diversity. Most recently, Pemberton scored Netflix’s lesser known but critically acclaimed Rising Phoenix. Along with scoring the six-time Oscar-nominated film, he’s also composed for unique and sometimes offbeat projects such as Birds of Prey and the Fabulous Emancipation of One Harley Quinn, Enola Holmes, King Arthur: Legend of the Sword, and The Dark Crystal: Age of Resistance.
Daniel pemberton spider man into the spider verse trial#
In fact, at the beginning of the 2020 COVID-19 lockdown, he was working on his now Golden Globe and Oscar-nominated song “Hear My Voice” alongside artist Celeste for The Trial of the Chicago Seven. Props to Daniel Pemberton though because this score is fantastic, and one that equals Dynasties’ in terms of majesty and originality.Daniel Pemberton has been busy creating a wonderful array of film scores over the last few years, and quarantine has been no different for him. I never thought I’d see the day where DJ scratches, doorbell chimes, horns, jazz, funk and everything in between found its way into a film score without losing sight of the overall tone. While the soundtrack embraces a distinct hip-hop flavour, the original score is a lot more ambitious, embracing a dizzying array of instruments and interesting sounds. Given the fact we reviewed the original soundtrack earlier this week, Spider-Man: Into The Spider-Verse is the one film this year that manages to nail both its soundtrack and score, delivering two very competently produced albums to accompany an equally excellent film. This blend of style and influence is typified perfectly through some of my favourite tracks off the album, which include Catch The S Train, Breakdown The House, Miles Morales Returns and Spider-Man Loves You. Chase sequences use a range of different drums including bongos and an actual drum kit with some neat DJ scratches thrown in for good measure. Pockets of danger through some of the more tense moments of the film are graced with low, distorted horn blasts. There’s a consistent tonal shift between light and dark here too, matching that of Miles Morales’ journey in the film.
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It’s something that almost feels destined to fail from the outset but this unique blend of sound complements the film perfectly, hammering home that message of individuality and embracing your inner weirdness.
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There’s even a track that builds a crescendo up to a door bell chime. There’s a whole range of different sounds and influences boasted throughout the run time with teasing echoes of trip hop, chill-out, funk, classical and everything in between thrown in for good measure. Step forward Composer Daniel Pemberton whose electronic infused soundtrack introduces so many different sounds and instruments over the course of 44 tracks that even after listening to this almost every day on and off for a week, I still find myself amazed at the way this is done without the score sounding cacophonous or bloated.įor anyone who’s seen Spider-Man: Into The Spider-Verse, some of the tracks here will be instantly recognisable. Every so often one comes along that’s so unique and different to what’s out there right now it demands repeat listens.
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Whenever I write reviews, there’s usually a whole range of different scores and classical compositions I listen to while putting pen to paper.