Mark Orton of the group Tin Hat composed the film's score; he previously worked with Payne on Nebraska (2013). Payne visited Orton at his studio in Portland, Oregon and discussed the film's music and the setting of the 1970s, which led them to research several instruments and types of equipment during the time period and avoided modern instruments for the music and sound design.[1] For instance, Payne wanted the sound design to be equivalent to the mono audio format as heard in the 1970s instead of the Dolby Atmos sound technology, and certain instruments invented during that time, such as the Wurlitzer electronic piano, Gibson Les Paul guitar, Fender Telecaster, Fender amplifier, MIDI, Neve 8078 and consoles from Telefunken, etc. These instruments were intended to mimic the era sonically, while in addition, Orton had also used pump organs, cimbaloms and bells for the sonic texture.[2]
During their discussion, Orton had penned down a suite of songs going more particular on the film's aesthetics, where one-third of which were included in the film. They noted down several films that influenced the music and songs from Carole King's studio album Tapestry or from the Hal Ashby-directed film Harold and Maude (both 1971). On incorporating the comedic feel, Orton felt that the score never leads the emotions, comedy or drama but instead supports the character's intentions. Moreover, the Christmas and the holiday side comes in the early stages of the movie, before the plot and the characters "get kind of whittled down to the three main ones" from where the score is being played broader in terms of a comedic approach. Orton used sleigh bells from various times, as well as chamber music and sounds created by using triangles, block bells and metallic percussions to bring the feel of "Christmas music". The opening scene which features a choir rehearsal was performed by actual boys choir from London.[2][3]
Matt Aberle was the music supervisor and Richard Ford was the music editor, whom in collaboration with Orton had selected some of the pop music based on the 1970s. The film then shifts into a road drama, that influences the score providing tension and seriousness in those moments. The track "Into the Unknown" is a re-iteration of the first cue Orton had composed, which was sparser and slightly acoustic. It is one of the main themes of the film where "it comes at small moments of redemption, or slight bits of resolve" according to Orton.[4]
"The Glove / Now He's History / 5/4 for Constantine"
Orton
4:24
22.
"A Girl in Tow / Back to Barton"
Orton
4:34
23.
"Danny / The Glove / Let's Make the Best of It"
Orton
2:20
24.
"See Ya / Into the Unknown"
Orton
4:39
Total length:
76:48
Reception
Pete Hammond of Deadline Hollywood called the score "wonderful", further adding that it "sets the tone with a Fred Karlin-ish vibe".[5] Jericho Tadeo of MovieWeb called it "an impeccable score from Mark Orton that brings a modern vibe to 70s sounds".[6] Barry Levitt of /Film wrote: "Mark Orton's score is lovely and never cloying, assisting emotional beats without being overbearing. And the soundtrack perfectly evokes the era."[7] Brian Truitt of USA Today and Mauren Lee Lenker of Entertainment Weekly also opined the same.[8][9] Leah Greenblatt of Esquire called it a "shaggy, toodling soundtrack with several sneaky anachronisms",[10] while David Sims of The Atlantic described it as "strumming acoustic".[11]
^Sgammato, Greg (October 25, 2023). "The Holdovers with Mark Orton". The Society of Composers and Lyricists. Archived from the original on November 26, 2023. Retrieved November 26, 2023.
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