Even with a score from Max Richter, the show’s soundtrack music stood out — and had plenty to say.

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Words “soundtrack” doesn’t feel best when describing the music featured on The Leftovers. The show has musical currental fees running with its DNA, completely apt for a series that enveloped itself via the full spectrum of humale feeling. Music supplies the very same variety of emovement, and also with a haunting score from composer Max RichterThe Leftovers renders spectacular use of numerous tunes. But none of these options are inconsequential to the narrative; in reality, the music itself is an inhandy part of the storyinforming. In that regard, it’s virtually diminutive to case that the show’s ideal moments have great music. They are the show’s best moments because of the good music that was weaved into their towel.

The Leftovers boasts a variety of musical selections from throughout genres, experimenting via juxtaplace often and also to excellent result. In the pilot, a bone-chilling instance of this comparison occurs throughout a scene in which a violent cult, The Guilty Remnant, arrive at a tvery own parade. They’re there to disrupt a commemorative business for those shed during “The Sudden Departure,” a mysterious phenomenon that observed 2 percent of the world’s population abruptly disappear. The townspeople descend into chaos, moved mad by the sight of the occultists denying their grief. As the 2 teams clash, “Sweet Love for Planet Earth” by Fuck Buttons plays feverishly, heightening the anxious pandemonium. A sudden musical shift deceleprices the pace of the scene: “Piano Sonata in A, D. 959: II. Andantino” by Seymour Lipkin tinkles as the scene descends right into slow-moving motion. The town’s police chief Kevin Garvey (Justin Theroux) pulls the angry locals ameans from each other as the piano lilts. It’s the perfect introduction to music done The Leftovers style.

Kevin lis10s to music commonly in the show, popping earbuds in once he’s jogging or doing work-related approximately the house. The present provides ample use of diegetic sound, giving the viewers a chance to understand also the characters in intimate means. In one unforgettable minute during the second seachild finale, Kevin percreates a karaoke variation of “Homeward Bound” by Simon & Garfunkel. Earlier in the season, he blares “Where Is My Mind” by The Pixies while confronting a hard truth: he could be shedding it, judging by the near-continuous visions he has actually of previous Guilty Remnant leader Patti Levin (Ann Dowd). An crucial cover of this song plays aget throughout the series. The Leftovers is unafraid of putting tracks on repeat and also in doing so develop a sound-moved thematic architecture.

With striking outcomes, The Leftovers sometimes renders unmeant song selections that comparison its sad imperiods through chirpy tunes. The seakid 2 opening credits were changed from Richter’s solemn layout to Iris Dement’s bideal “Let The Mystery Be,” and that switch sets the tone for the remainder of the series. In episode five (and briefly before that, in episode two), “Let Your Love Flow” by The Bellamy Brothers is used in a montage that shows town priest Matt (Christopher Eccleston) caring for his wife, Mary, that was rendered catatonic in the time of The Sudden Departure. The song stops and starts repeatedly, as Matt plays it as soon as he wakes up each morning. By the third play, it’s eery and exhausting as we watch exactly how despondent Matt has actually grvery own, going via the activities to care for his unresponsive wife.

The perfectly mismatched tunes proceed in season three, culminating in an iconic use of a-ha‘s “Take On Me” during the fourth episode. Engrained in the pop culture blueprint is a shot of Nora (Carrie Coon) sitting in a hotel room alone after sparring through Kevin. Water pours from her eye in one lengthy, undamaged tear as that cheery ’80s synth blasts: “We’re talking ameans / I don’t know what / I’m to say, I’ll say it anymethod.” From that allude, the song re-gotten in the canon and also ended up being a bittersweet anthem, breathtakingly reappropriated by The Leftovers in tribute to Kevin and also Nora’s challenging romance. Sometimes the unexpected choices are the the majority of evocative, and that’s component of what makes The Leftovers occupational so well.

This show’s penchant for risk-taking is exemplified in the first episode of seachild three, which begins via a thematic overture set throughout the pre-industrial era. Larry Norman’s “I Wish We’d All Been Ready” plays over a wordmuch less sequence in which a fundamentalist community awaits the divine rapture via bated breath. But the day never before comes, and the crushing disappointment breeds resentment in between a disillusioned husband and faithful wife. The Christian song is a quintessential inclusion in The Leftovers, its lyrics a remorseful lament for those who’ll be “left behind” as soon as the rest are taken for the rapture.

The repurposing of “Va, Pensiero” from Giuseppe Verdi‘s opera Nabucco is one of The Leftovers‘ excellent triumphs. In seachild two’s brilliant “Internationwide Assassin,” this chorus is repetitive throughout, loaning the episode a melodramatic absurdity. It’s difficult to imagine this installment in the series without thinking of the music that defines it; it would certainly be choose imagining the display without Theroux or Coon. When the spiritual sequel to this episode aired in seachild 3, episode seven — “The Many Powerful Man in the World (and His Identical Twin Brother)” — the Nabucco refrains reverted too. It was yet another reminder of how The Leftovers excels at using music to tie its episodes together.

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More than anything, The Leftovers understands exactly how shedding loved ones could warp a person’s feeling of self. It networks that heartache into its music till the exceptionally end. When Kevin and also Nora dance to Otis Redding‘s “I’ve Got Dreams To Remember” in the series finale, the show’s masterful musical design reaches a peak that it manperiods to hit over and also over aacquire throughout its three-seakid run. The Leftovers is a testament to the powers of the cinematic song: music isn’t just a supplement yet is sometimes a essential ingredient for great storyinforming.