Album Review: Uncut Gems [Original Motion Picture Soundtrack] by Daniel Lopatin

The title sequence of the new Safdie brothers film, Uncut Gems, brings the moviegoer along a CGI-assisted journey through light-years of celestial mist before the camera recedes into footage from a probe deep inside Adam Sander's ass. Watching the opening credits fade over shots of protagonist Howie Ratner's colon--pink and ribbed, like an aquatic worm--is bearing witness to an act that is in the macro graceful and in the micro grotesque, a confusing alloy found often in the work of the music of electronic musician, sound designer, and auteur Daniel Lopatin, usually known as Oneohtrix Point Never. Lopatin has long blended sincerity and absurdity, the ratio of which varies dramatically per project.

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Dreams and aspirations in synth format. Soaring goals and idealized visions of a personal future, creating tension and conflict in an attempt to actualize itself.   The Uncut Gems soundtrack from Daniel Lopatin (better known to music fans as Oneohtrix Point Never), is an album to make you feel like the stakes are high, appropriately for the score of a film about gambling and debt. Similar to Lopatin's last collaboration with directors the Safdie brothers on the score for 2017's Good Time, the music in Uncut Gems is at times tranquil ….

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U ncut Gems is one of the films of the year, cementing its directors, the Safdie brothers, as the masters of stressing you out by watching flawed people make even more flawed life decisions - here, Adam Sandler plays Howard Ratner, a gambling-addicted jeweller who is in love not so much with the winning as the survivors' adrenalin of not losing. After scoring their previous film, Robert Pattinson heist movie Good Time, Daniel Lopatin - AKA electronic producer Oneohtrix Point Never, now composing under his own name - once again writes the music. As with Good Time, Lopatin creates strong passages seemingly beamed from the chase sequence of an 80s cyborg movie, all arpeggiating synth lines and toe-tapping pace.

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