Experimental artists crossing over to mainstream film - more money and more fun

A great read in the Electronic Beats about how film scoring has become an increasingly fertile industry for artists rising from the more experimental branches of electronic music and club culture. Last year, Bobby Krlic - better known as the experimental artist The Haxan Cloak - scored the Swedish horror movie 'Midsommar'. Oneohtrix Point Never first built his career with idiosyncratic, synth-laden productions, to skip over to experimental scores as Daniel Lopatin, producing two of Josh and Benny Safdie’s films, 'Good Time' and 'Uncut Gems'. Alec Empire, frontman of Atari Teenage Riot and longtime maverick of the German noise, industrial, ambient and digital hardcore scenes, has been involved in several A/V and film-scoring projects in his multifaceted career. The names of musicians stepping over to movie-scoring come from without experimental electronic production, of course - Hildur Guðnadóttir got her first Golden Globe and Oscar awards this year, Max Richter and the sadly deceased Jóhann Jóhannsson come from a neo-classical background, and many are indie luminaries, like Trent Reznor, Colin Stetson, Nick Cave & Warren Ellis, Geoff Barrow (of Portishead) and Mica Levi.