That established background may have provided him important creative leeway. Britell has uncannily captured Succession’s deranged reality in a fresh and original way, says Silverstein, sonically encapsulating the show’s themes.īritell is known for his distinctive film scores: he’s behind the sound of movies like The Big Short, Moonlight and If Beale Street Could Talk. Hell claws at my window and makes me forget To tell her of the deal and the conditions I met and now It's far too late to tell her what's going on here Somehow I'm almost looking forward to when this is over 'I felt my ghost cross over, and knew he was near And across the river I could see him standing there' And there was light And the blackness that followed blinded her eyes The night drew her to me and we met in the dark And this 'why am I here?' where the words she said A kiss told her responsible for her being dead She cried in silence and I wiped away her tears She felt my cold hand amplifying her fear She knew where she was and cursed her beloved And all of a sudden it all was over.To understand how - and why - the score has become a cult-favorite composition that may just go down in TV history, in the vein of those from Game of Thrones and Mad Men, TIME turned to former film and TV composer Drew Silverstein, who co-founded the music AI startup Amper Music, and music theorist, psychologist and lecturer Stefanie Acevedo. And there was light And the darkness that followed blinded my eyes The night made we trustworthy and hid all my lies I called the seventh of the eight and gave him my offer So cold were the feelings I bore inside after I'd lost her Sometimes I still can hear His voices calling, calling me from everywhere And now and then I feel my soul slowly slipping out of myself into his.

And then there was light sound track