Here Max Richter uses his well-known piece, On The Nature of Daylight to begin the journey, adapting it to close out this score too, renaming it The Swimmer for the album’s penultimate track.
For the most part Richter is composing on the computer, perfect for the film – and it’s smart “casting” to have Richter as the composer for Disconnect, his music so full of loneliness, pathos, imbued by the tones and ideas around solace and solitude.
Perhaps I wouldn’t have felt so drawn to this music if I hadn’t first heard/seen it in its rightful context, but I’m certainly hooked on the album now outside and away from the film. I liked Disconnect but it’s unlikely I’ll return to watch it again, still there are pieces from Richter’s score – such as The Report, Written On The Sky, and the almost emotionally overwhelming Confrontation, the centrepiece of the soundtrack album, an epic, almost the entire score in microcosm in fact – that bring back scenes to me, that have me vividly recalling the moments in the movie that this music was underpinning.
I’m a Richter fan, so I’ll follow him wherever he goes. He’s one of a small handful of film composers where when I see their name in the credits I go straight for the score after seeing the film; where if I read about their next work ahead of time I’m booking screen-time no matter what the movie is.