Album Info Hide Show Artist: Daniel Blumberg Album: The World To Come (Original Motion Picture Soundtrack) Released: Europe, 2021 Tracklist: A1 Opening (Dyer’s Farmhouse) 2:41 A2 Nellie 1:00 A3 Abigail’s Walk 1:18 A4 Tallie 3:19 A5 Flummoxed 0:38 A6 Chicken Plucking 1:56 A7 The Storm 4:08 A8 Falling in Love 4:08 B1 First Kiss 1:40 B2 The Orchard 3:27 B3 The Woods 1:36 B4 Spying House 1:23 B5 Thoughts And Township 3:10 B6 The Fire 1:07 B7 Empty House 1:44 B8 Tallie Missing 1:53 C1 Finny Letter 1:53 C2 Atlas 1:04 C3 The Wagon 3:35 C4 Love And Death 4:37 C5 Rooftop 1:22 C6 The World To Come 5:42 D1 Abigail’s Theme (Brtzmann Solo) D2 Tallie’s Theme (Brtzmann Solo) Info About Buying Vinyl From Our Record Store We are a small independent record store located at 211 High St, Preston in Melbourne, Australia (North of Northcote, between Thornbury & Reservoir) We buy and sell new and used vinyl records – if you have a collection you’d like to sell please click here . 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We are strongly committed to customer satisfaction. If you experience any problems with your order contact us so we can rectify the situation. If the record arrives damaged or doesn’t arrive we will cover the cost of replacing or returning the record. If you change your mind you have 30 days to return your record but you must cover the cost of returning it to the store. You can contact our Melbourne record shop at (03) 9939 3807 or at [email protected] Happy Listening! Description Hide Show Daniel Blumbergs score for The World to Come is the rare film soundtrack that stands up on its own, not just as mood music but as a document of feeling. The film, directed by Mona Fastvold and starring Katherine Waterston and Vanessa Kirby alongside Casey Affleck and Christopher Abbott, premiered at the Venice Film Festival in 2020, where it drew strong notice for its quiet intensity and tender focus on two farmers wives in 19th-century America. Blumbergs music carries that weight with striking restraint. Released in 2021 as an Original Motion Picture Soundtrack, it plays like wind carving a path through snow, careful and cutting, never grand for the sake of it. Blumberg has a knack for making small sounds feel monumental. Fans of his earlier work will recognize the approach. He favours a tight ensemble and organic textures. Here, strings creak and sigh, woodwinds hover a breath away from silence, and percussion lands like the crunch of boots on frozen ground. Its not minimalist in the showy sense. It feels handmade and closely miked, as if youre standing in the room while rosin dust floats in the light. That intimacy serves the films setting, a frontier where isolation can be both a threat and a refuge. The music is patient. Themes dont announce themselves so much as emerge, like something you notice only after your eyes adjust to the dark. A violin line might begin as a thin thread, then widen with lower strings shadowing it, the harmony slipping in unexpected directions. The woodwinds often sound like theyre inhaling as much as playing. That breath becomes part of the rhythm, a human pulse inside the landscape. Its easy to imagine Blumberg guiding the players toward the edge of a phrase and letting the air do the rest. Thats part of why the album works as a standalone listen. Even without the images, you feel the tug between interior and exterior, between duty and desire. The score leans into texture and gesture rather than big motifs. Theres a particular tension in how the ensemble rises and then holds, almost refusing a conventional release. It suggests all the speech that couldnt be spoken aloud in that era. When the dynamics finally open up, they do so in a way that still feels hushed, as if the music respects the privacy of the characters. It helps to know a little about the films reception and context. The World to Come won the Queer Lion at Venice, and much of the conversation around it centered on the performances and the careful historical framing. Blumbergs contribution sits under that, but critics and fans who pay attention to scores picked up on how the sound binds the environment to the characters. You sense the cold not just because of the images, but because of the high harmonics and the way the low end thins out like a gust cutting through a barn. Its a smart, restrained kind of storytelling, and that intelligence comes through on the LP. If youre the sort who flips through racks and chooses by feel, The World to Come vinyl has the kind of presence that rewards a focused Sunday spin. Put it on a good system and sit still. The noise floor matters here. You want the hush between notes. If you collect Daniel Blumberg vinyl, this sits neatly alongside his solo records, showing how his language adapts to narrative without losing its nerve. Its also the kind of title people keep asking about when they come in to buy Daniel Blumberg records online. Theres always a listener looking for something that first seems austere then burrows in. A quick note for crate diggers. If youre browsing for Daniel Blumberg albums on vinyl and you come across this in a corner bin, dont overthink it. The cover might look understated, but the record inside has shape and backbone. It sounds good at low volume late at night, and it blooms if you nudge the dial. And if youre hunting through vinyl records Australia wide or popping into a Melbourne record store on a rainy afternoon, its the sort of soundtrack that can reset your ear between louder, busier picks. Plenty of soundtracks rely on lush orchestration or period pastiche. Blumberg chooses something braver. He trusts a modest palette and a sense of touch. The result isnt just tasteful. Its alive with weather, hesitation, and the fragile courage of two people trying to chart a map of their own. Thats what you hear in these grooves, and why this album keeps calling you back. Product Reviews Hide Show Write a Review