Interview with Colin Stetson 

Source: Film Music Magazine.

Given his ability to conjure insanity with a distinctively terrifying and transfixing voice, one might imagine composer Colin Stetson straight jacketed into a lunatic’s cell with his gear, babbling about unimaginable monsters on the other side of hell and space. However, that void where most straight-laced film musicians might fear to tread is home for a rising, unclassifiable voice in a Hollywood whose scoring sound is increasingly mutating into a thing of melody, dissonance and sound design – a creature whose acolytes are becoming more popular than ever with the ear and mind-bending likes of Mica Levi’s “Under the Skin,” The Newton Brothers’ “Doctor Sleep” and Geoff Barrow and Ben Salisbury’s “Annihilation.” Worshipped by hip listeners weaned on alternative music, it’s an unfathomable style whose tentacles are now spreading beyond the worlds of horror and science fiction – and perhaps are no more strikingly than in Stetson’s hands.