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What's the verdict, Ms. Pineapple?
Ha! I was going to post earlier this morning but needed a bit longer to shake the cobwebs out of my head....
As expected, I love it. I'm not sure how I'd rank it against his other works yet (and I'm seeking out his compostions that you mentioned earlier to listen to). It's definitely a little 'different' than I was expecting; not in a bad a way, though. He seems to be stretching his typical style out a little, and that's a good thing.
There's a classical music-vibe to it which I was not expecting, but I'm enjoying hearing his interpretations of that "sound." Is it me or is he using more woodwinds on this album? They definitely lend a more exotic sound to the overall score. I really dig the cue with the organ on it. This morning I thought I could hear a little Gyorgy Ligeti influence creeping in (always nice!). Part of me feels that some of it stylistically harkens back to BODYSONG. (Maybe it's just the song structures?)
My only gripe is the inclusion of some film dialog on "Able-Bodied Seamen." I'm curious why he included it as it's so brief. As for the period music included on the album, I love it. The songs blend perfectly with his score.
I've only listened to it four times, and plan to listen to it more attentively over the weekend to try and add some more shape to my initial impressions.... Of course, after hearing this, the question I keep asking myself is, "why is this guy not getting more coverage?" So many people complain that no good film music is being created and that there's no good young composers today...and here Jonny Greenwood is with nary a mediocre score to his name! He's like the best kept secret!
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Sounds very enticing. I just hope there is more original Greenwood in "The Master" than the huge amount of what sounded like temp track scoring utilizing modern classical pieces in "There Will Be Blood." I'll be seeing this film this weekend - it looks like it will be fascinating, even though the only PTA movie I've enjoyed up to this point is "Magnolia."
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Sounds wonderful! Might be the most interesting score of the year.
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If there is one score of recent memory that seemed to completely avoid the idea of sounding like a temp track, it is There Will Be Blood.
Wasn't Greenwood's own piece, 'Popcorn Superhet Receiver', the temp track? (Sections of the score rework it.)
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Oh c'mon. Radiohead is totally a pop group.
To stay on point The Master isn't that great of a score. There Will Be Blood is great as a sort of one shot thing. This time, much less successfully he does rewarding is his schtick. If this sort of random "modern" thing is gonna be his thing-it's going to sound more and more like amateur conservatory submissions. Imitating concert music rather than writing real concert music.
And for those who would want to argue that this is a sort of concert music, then it's derivative easy listening.
You have got to be kidding, right? Radiohead -- a "pop group"? Hardly. His score for THE MASTER is "derivative easy listening"? Let me guess, you're not a fan of the Beatles and their black death metal-sound, either, are you? If this is Jonny Greenwood's "schtick," then I will gladly suffer it so long as he continues to write it. 
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There were some hauntingly beautiful cues in the film that didn't make it onto the soundtrack for reasons I cannot possibly understand.
I think there were two.... I saw your post before the film so I tried to keep an ear out for it. They would have fit right in on the release. Is all of this music original for the film? Could he have left them off in order to qualify the score for awards considerations?
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Saw this film on the weekend. Really amazing performances by the two male leads and Amy Adams. Thought the first half of the film was near perfect but then it slumped a little in the middle. Still highly recommend it for film enthusiasts. I thought the score worked very well and I'm not a fan of Greenwood really - I thought there was way too much music in "There Will Be Blood" and some of it quite intrusive. There was a lot of music in "The Master", but I think it helped create the dreamlike quality the filmmaker seemed to be going for. It would have a been a difficult film to score I think and IMHO Greenwood and the director came up with a sound palette that really worked with the picture.
My impression of the score to THERE WILL BE BLOOD was that it was itself a character in the film; there was so little dialog that the score needed to have the muscle to carry the film for long stretches. Where did you feel the score was intrusive?
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