Soundtrack review: Endzeit (Thomase Wegner – 2015)
The plot for “Endzeit” looks pretty grim: a young girl survives a comet that hit earth and wiped out most of humanity and all of civilization. Alone and abandoned she leaves the ruins of cities and enters nature. She grows to become a lone wolf who braves her fate and her raw surroundings – in a pure fight for survival. But one girls’ crap is another man’s gold as they say because a movie like this opens possibilities for a great score. Is Thomas Wegner up to the task?
His introduction is lonely and poignant. The piano is interrupted every now and then by cello interludes that first feel like scattered rain drops until they come together in a powerful theme. The composer aims to break our hearts right from the start and introduce us in the world of the main character: lonely, desolate and on the edge of sanity.
The introduction is sort of a decoy though. The tone changes for the next few cues; it gets lighter and the instrument of choice is the guitar. The music isn’t that deep anymore and it doesn’t tell me much. Those cues just pass like rain water and I forget them as soon as they are over. It’s strange because after that intense introduction, the “Main theme” is also dark and heartbreaking. So why is the rest of the score different? I want to hear that cello tear through “Endzeit” and make me feel it full force.
“You have to find yourself” introduces a third separate sound of this score. It goes into weird electric territory and it sounds like the kind of thing you’d find lost on a Radiohead album. I imagine that the composer wanted to show the various states of mind the character goes through and the slow decay of sanity when you are the last woman in the world. The music evokes visions and hallucinations to me but above all, it evokes loneliness. For a moment there I remember Nick Cave and Warren Ellis’s “The road”.
I cling to the more melodic moments. I like them more because I can’t connect to the other ones. They stay too much in the swamps. I can understand and appreciate a disturbing cue but the ones on “Endzeit” are just confusing to me. Luckily there are still pieces like “The end” left on the score to salvage the last impression. Anyway, the introduction and the main theme alone are worth the price of the album for me.
Cue rating: 83 / 100
Total minutes of excellence: 11 / 19
Album excellence: 60%
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