WaterTower Music releases the Deluxe Edition of the Motion Picture Soundtrack to Tenet. In the Warner Bros. science fiction action film, written and directed by Christopher (The Dark Knight Trilogy) Nolan, protagonist John David Washington journeys through a twilight world of international espionage, fighting for the survival of the entire world armed with a single word: Tenet. The mission will unfold beyond real time. Not time travel but Inversion. The international cast includes Michael Caine, Kenneth Branagh, Robert Pattinson, Elizabeth Debicki, Yuri Kolokoinikov, Himesh Patel and others. The score is by Academy- and Grammy Award-winning composer Ludwig Göransson (Black Panther, The Mandalorian). The 20-track deluxe version incorporates two bonus tracks, and liner notes from Chris Nolan and Ludwig Göransson It is available on Triple Vinyl, 2-CD, and for Digital Download...

'Rainy Night in Tallinn' kicks us off with a warming-up of string section sound. A thick, deep electronic timed beat is surrounded by a clattering and a bass synth sound. A nice but foreboding piece of ambiguity. 'Windmills' is slow and mysterious, but it still feels like there is lot going on. It’s a full and warm sound. 'Meeting Neil' serves as a linking track, with Electronica which comes and goes like trying to make radio connection. 'Priya' has a naval-contemplating sound which fights its way out of the fuzz and begins a clattering beat. 'Betrayal' creates a feeling of introspection which tentatively builds. 'Freeport' incorporates a light electronic drum that sounds like an electronic wasp. It evolves into a brief melody. '747' begins with a basic string noise against a deep stomping. It then becomes louder and significantly more dramatic – like being stalked by a giant. Total Electronica takes over, with a threatening build-up which falls away to a space sound before changing again. This is the best offering since the opening track. 'From Mumbai to Amalfi' is atmospheric, with a cello accompanied by light space noises (think of the end titles to Gerry Anderson’s U.F.O. series). 'Foils' has a lighter, more jaunty feel, with a Vangelis-like backing. Harsher sounds are introduced to darken the mood. It would make an ideal sample, as it’s one piece of music. Little happens in 'Sator' until the second half, which is a disconcerting assortment of electronic noises and a faint, human-like voice which assaults the left speaker but says nothing.

'Trucks in Place' has a thudding, warping beat with different sounds surrounding it. More succinctly, a dragging backwards loop. An inventive sound. 'Red Room Blue Room' adapts a strange breathing sound with distortion. A high ringing invites a trepidatious feel. 'Inversion' includes a fluttering which introduces a range of synthesiser sounds – low and bass, fuzzy and fluttering. 'Retrieving the Case' is a basic tentative repeating sound that builds to a cacophony of Electronica and a fast pace. 'The Algorithm' has a string section which turns to a heavy, thudding beat and a melody of sorts. It’s a good piece strong enough to be a main theme on any action film. I believe 'Posterity' is the longest track at over twelve minutes – although it takes four of them to get going. It then becomes a building, substantive piece. A strong track. 'The Protagonist' is slower and quite atmospheric. The grounding is in bass guitar, with touches of ringing guitar. All of this is abandoned for the Electronica. 'The Plan' is a song by multi-platinum, Grammy-nominated recording artist Travis Scott. I’m not a fan of this type of music, especially wherein the vocals are helped tuning-wise by artificial means. I do, however, like the electronic underlying throbbing beat. I should mention, too, that there are explicit lyrics.

On to the two bonus tracks, and we begin with 'Fast Cars'. It has a drum machine beat, and a fast-moving pulse-like tempo. It has the feel of a chase scene without having much substance. The same sound just increases in speed. 'Turnstile' concludes the proceedings. This begins in the same style as the preceding track, before having a fast electronic beat joined by clattering and, latterly, by a cello and other Electronica. These are far from being the best two tracks on the release, so I can understand why they weren’t originally included. Plus, it negates the end-piece of 'The Protagonist'. Like the film itself, this soundtrack will split the critics. The main deciding factor in this is whether or not the listener likes an electronic score, or is a traditionalist preferring a live full orchestra. Personally, I love Electronica with the proviso it is varied and not too samey. The soundtrack to Tenet succeeds in this respect, and overall this is an excellent collection. Standout tracks are 'Rainy Night in Tallinn', '747', 'Foils', 'The Algorithm', and 'Posterity'. It’s all very inventive, and certainly stands alone.

8

Ty Power