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Lid
Feb 18, 2005

And the mercy seat is awaiting,
And I think my head is burning,
And in a way I'm yearning,
To be done with all this measuring of proof.
An eye for an eye
And a tooth for a tooth,
And anyway I told the truth,
And I'm not afraid to die.
13 years ago and two months NWS

https://www.youtube.com/watch?v=qTwZS9R3Bjk

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Lid
Feb 18, 2005

And the mercy seat is awaiting,
And I think my head is burning,
And in a way I'm yearning,
To be done with all this measuring of proof.
An eye for an eye
And a tooth for a tooth,
And anyway I told the truth,
And I'm not afraid to die.
new favourite thing: the contrarian reviewers of Trent Reznor and Atticus Finch's music scores

Christian Clemmensen, member of the International Film Music Critics Association and editor of Filmtracks, who said the score was "as redundantly insufferable as any score in recent memory, with no standout cues, no beginning, no end, no suspense, no adversity, and, most importantly, no sense of accomplishment". He awarded the score the very rare rating of FRISBEE, the lowest Filmtracks rating.

Christian Clemmensen, of Filmtracks, and Jonathan Broxton, of Movie Music UK, dismissed it entirely, the latter considering the score as: "little more than a series of ambient drones, overlaid with various industrial sound effects and staccato rhythms – de-tuned piano chords, plucked bass notes, and the like." He also stated: "When the score isn't jarringly distracting, it's virtually inaudible or indistinguishable from the film’s sound effects, begging the question of why the music is there in the first place.

Jonathan Broxton of Movie Music UK, member of the International Film Music Critics Association, who wrote of the score: "The lack of any emotional development beyond the general mood of uneasiness makes the film a one-note auditory bore. The music stops us from feeling any of the nuance or subtlety the acting or writing may have otherwise provided, because it never alters its disposition. (...) As an artist with Nine Inch Nails, Trent Reznor was genuinely groundbreaking. However, I just don’t buy into all the hype about his film music career. I read reviews from professional critics in well-respected music magazines, and they all laud him as though he is the individual savior of the art, someone who is finally writing the sort of edgy, avant-garde film music we have all needed all these years, but were too stupid to realize. I just don’t buy it. (...) As an album of ambient electronica [Gone Girl] may be appealing to those who have an affinity for that sort of music. However, as actual film music, it’s as much as a failure as its two predecessors."

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