Usually he would want to funnel it through my head because he looks at me as like an Instagram filter ! So it’s a case of: “OK, let’s get film noir, but through Lab.” And sometimes some weird shit appears out of that, when I get inspired. With the show, a lot of the musical choices are just Sam going, “let’s go in this direction”, and us helping him go in that direction. I was like: “OK, cool.” However I can support it, I’ll do it. Sam wanted to go in a film noir direction. What was your brief in terms of scoring this week’s penultimate, stage musical episode (titled The Theatre and Its Double )? With only six more sleeps till the climactic eighth episode, we asked him: what’s the score with this rollercoaster season? He was packing up his Los Angeles studio – located on the lot where Euphoria is filmed – and preparing to head back to the UK. ![]() Speaking of which… As we head into the last week of this series’ run, we spoke to Labrinth. The latter was originally written for his second artist album, 2019’s Imagination & the Misfit Kid, then featured – and sung by Zendaya – in the first season finale. In 2020, Labrinth’s music for the first series of Euphoria won an Ivor Novello Award (Best Television Soundtrack) and an Emmy, for Outstanding Original Music and Lyrics, for All For Us. Then came his teaming up with Levinson and break into television work. Beyond that, Lab’s collab’d with North America’s premier a‑listers, including Rihanna, Kanye West, The Weeknd and Beyoncé – the latter on The Lion King soundtrack, which earned him Oscar, Grammy and Golden Globe nominations. The 33-year-old composer, singer, songwriter and producer is also part of electronic supergroup LSD with Sia and Diplo, and worked with Noah Cyrus on her first releases. Labrinth has come a long way in the decade since he won the Song of the Year Brit Award for co-writing and producing Tinie Tempah’s 2010 banger Pass Out, and the release of his debut artist album Electronic Earth, which featured Beneath Your Beautiful, his chart-topping duet with Emeli Sandé. He stretches out to other artists, too – that James Blake tune is a hook-up between the two Brits. He writes to accompany specific scenes, characters, storylines or themes in the show, then finishes these musical moments into “records”, as he calls them, many of which (including Forever and Formula) have enjoyed a huge afterlife on streaming platforms and TikTok. London’s very own, Hackney’s finest, he’s been composing for showrunner Sam Levinson’s drama since day one. That score – an electronic symphony that ranges from choral to hymnal to soulful – is entirely the work of Labrinth. But it’s the show’s original score that fundamentally colours everything, beyond the icy blues and bruised purples of the cinematography. The series’ ace needle-drops (vintage cuts like Gerry Rafferty’s Right Down The Line, The Notorious B.I.G.’s Hypnotize, DMX’s Party Up, and new tracks like Lana Del Rey’s Watercolor Eyes and (Pick Me Up) Euphoria by James Blake) are courtesy of music supervisor Jen Malone, who performed similar wonders on Yellowjackets. Soundtracking all this have been musical choices as rich as the characterisation and storylines. That, of course, would be her second Euphoria Emmy. Honing in on Rue’s addiction the desperate depths to which it’s taken her, her sister and her mum and the devastating family backstory that set the 17-year-old on the path to heroin-injecting despair – it’s all made for high-intensity, high-class drama that more than compensates for the nagging sense of shock-for-shock’s sake that crept into early episodes.Īs Angus Cloud (Fezco) live-tweeted during the broadcast of episode five (The One With Rue Running For Her Life and Her Drugs): “GIVE ZENDAYA HER EMMY NOW”. Really, though, Euphoria is, once again, Zendaya’s series. ![]() For the past six weeks, the HBO hit has been proper Appointment Telly. The Nate/Cassie/Maddy hate-triangle had viewers screaming. The side-note detour into Nate’s dad’s backstory was riveting, even if it did feel a little tangential to the main action and cost us more screentime for, say, Jules. The first episode that introduced Fezco’s badass grandma. Sure, there have been issues: what happened to Kat’s storyline? Where did Demetrius Flenory Jr go after his brief appearance in episode one? Couldn’t we have had a flick more Ashtray? Are the rumours of onset upheaval true? And what about McKay, Cassie’s ex, ghosted by the show after a fleeting glimpse at that New Year’s party?īut despite all that, boy, has it delivered.
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