October saw the release of two Oscar and BAFTA nominated scores, The Banshees of Inisherin and All Quiet on the Western Front, with fairy tale melancholy and the blaring fear of war, respectively, as well as a number of other notable pieces, like the longing romance of Tindersticks Stars at Noon or Ben Lovett’s resuscitation of classic themes in Hellraiser. Meanwhile, the coming months promise an arguably even better, broader slate of scores. What a time! I’ve also been lucky enough to interview two of the composers about scores listed here, with a third on the way. As always, if you think I’ve missed any scores from this month (or any past months), leave a comment or get in touch and I’ll check them out!

Once again there were (as always) too many scores released this month for me to me to cover! Make sure to scroll to the end of this article for a list of even more October scores to check out!

Have a quick read about each of these excellent scores below then give them a listen. Be sure to see what other scores you may have missed by reading past editions of this column or listen below to hear me discuss a few of these and other scores released in October, November, and December:

All Quiet on the Western Front – Volker Bertelmann (Interview)

One of the most divisive scores of 2022 was Volker Bertelmann’s All Quiet on the Western Front. The reason is obvious: the main theme for this adaptation of the classic novel, set in World War I, is a blaring, three-note siren. It’s jarring and frightening, and for some simply too much. But it’s also a testament to experimentation, with Bertelmann utilizing a period-appropriate harmonium played through an amp stack to create when of the most frightening sounds in recent film music. It also plays against expectation (although there are subtler, more classical moments scattered throughout that are inevitably crushed by the aforementioned sonic bomb). I was certainly surprised that both it received a both a BAFTA and Oscars best score nomination, and it’s reassuring to see something so daring be rewarded.

The Banshees of Inisherin – Carter Burwell (Interview)

A second BAFTA and Oscar nominee released this month, Carter Burwell’s score for The Banshees of Inisherin. Though the obvious musical choice for this early 1920s Ireland-set film would be early 20th century Irish music, Burwell chose a different tact. Playing on the childlike nature of Colin Farrell’s main character, Burwell leads with a harp and celeste to create a sort of dark fairytale, while deeper gamelan rumblings add an air of mystery (the latter being chosen to lead into an Indonesian gamelan song halfway through the film, which was eventually scrapped). It’s a gorgeous, minimal, melancholic journey tracking decay across the isle of Inisherin.

Stars at Noon – Tindersticks

I’ve long been a fan of the film scoring working of Tindersticks, as well as of members Stuart A. Staples and Dickon Hinchliffe, and their latest is yet another collaboration with Claire Denis: Stars at Noon. The score strikes a difficult balance of sensuality and melancholy, a pervading darkness underpinning every moment. The highlight is the title track, featuring crooning vocals that call, longingly, into the night for some long-lost love, never to return.

Till – Abel Korzeniowski

Until recently, Abel Korzeniowski hadn’t released a score since March 2021, with his next most recent score, The Nun, releasing back in August 2018. For whatever reason, the Polish composer had been unfortunately quiet. This all changed with his powerhouse score for Till (and a follow-up, Emily, released in November). There’s a constant danger in Korzeniowski’s score, like a tumult ready to unfurl at the slightest touch. And at times it does, manifesting in hammering violin to create an orchestral storm.

A Few More Scores

As often happens, there were simply too many great scores released in October to cover, so here are a few more:

  • Amsterdam – Daniel Pemberton (Interview)
  • Catherine Called Birdy – Carter Burwell
  • Hellraiser – Ben Lovett (Interview)
  • The Lost King – Alexandre Desplat
  • Significant Other – Oliver Coates
  • Werewolf by Night – Michael Giacchino
  • Halloween Ends – John Carpenter, Cody Carpenter, and Daniel Davies
  • Le petit Nicolas – Ludovic Bource
  • Super Furball Saves the Future – Panu Aaltio
  • Der Nachname – Helmut Zerlett
  • Hilma – Jon Ekstrand
  • Le pharaon, le sauvage et la princesse – Pascal Le Pennec
  • Paul’s Promise – Chad Reisser
  • Raymond & Ray – Jeff Beal
  • Robbing Mussolini – David Holmes
  • The Stranger – Oliver Coates
  • Tár – Hildur Guðnadóttir
  • Titinia – Kare Vestrheim
  • Wendell & Wild – Bruno Coulais