It’s an exhilarating addition to his oeuvre, and could legitimately be understood as a logical successor to Garden of Delete.
Hopefully Good Time is just the start of more filmmakers making use of him—whatever name he wants to do it under.
With Good Time freed from the need of such conventions as identifiable ‘singles’, Lopatin has allowed himself to engulf characters all the more wholly, as made possible by a distinct narrative.
While there is little on the Good Time soundtrack that explores unknown territory for Oneohtrix Point Never, the album presents an accessibility and scale that Lopatin has only previously been working toward.
It's easy to hear why Good Time won an award before the film was even in wide release: The way Oneohtrix Point Never's score bridges character, setting, and mood offers much more than a passive backdrop.
His skills have caught up with his ambition.
There's no doubt Good Time OST absolutely sounds like a movie score, but every single track here stands on its own, providing an intensely emotional punch to the gut.
Daniel Lopatin accentuates the Safdie Brothers’ character studies with his hyper-real music. Instead of pursuing moments of trance-like calm or humor, here he metes out anxiety measure by measure.
The most exciting thing about the soundtrack for Good Time is just how kinetic it is. Lopatin is far from the first person to make a futuristic-sounding soundtrack based around vintage synthesizers, but the way he layers and produces them gives them a tangible feeling of urgency and paranoia throughout.
Lacking the singularly textual and conceptual punch of his recent work, it’s both a practice in versatility and a sign that there’s still something of an enigma to Oneohtrix Point Never after all these years.
Good Time is like an 0PN greatest hits collection, displaying all of Lopatin’s compositional depth and cheek.
My favorite movie soundtrack of all time.
This encapsulates the relentless, nightmarish and stressful energy that the film exudes.
FUCK. This is sooo good.
Dnalel Lopatin Is A Gdo ALmong Men And I would Do Anything For Him
it's peak Stan hours, boys
Killer soundtrack to a killer movie. It has that grungy, aggressive GOD feel which obviously suits the stressful narrative of the movie, and like most great soundtracks it doesn't feel overly bound to its intended media. To me it almost sounds like a Oneohtrix album tweaked and twisted into a cohesive soundtrack format, and I mean that in the best way possible. The Pure and the Damned deserves mentioning as well because I firmly believe it's one of the best songs, let alone ballads, ever ... read more
An absolutely fantastic soundtrack that elevates the levels of tensity in such a stressful movie.
1 | Good Time 6:52 | 100 |
2 | Bail Bonds 2:24 | 100 |
3 | 6th Floor 1:16 | |
4 | Hospital Escape / Access-a-Ride 4:11 | 95 |
5 | Ray Wakes Up 3:50 | 90 |
6 | Entry to White Castle 2:25 | 95 |
7 | Flashback 3:24 | 100 |
8 | Adventurers 0:59 | |
9 | Romance Apocalypse 2:13 | 100 |
10 | The Acid Hits 3:44 | 100 |
11 | Leaving the Park 5:13 | 100 |
12 | Connie 5:03 | 100 |
13 | The Pure and the Damned 4:29 feat. Iggy Pop | 100 |
#10 | / | Interview Magazine |
#24 | / | Gorilla vs. Bear |
#35 | / | Norman Records |
#49 | / | Consequence of Sound |