Luxury retail soundtracking and in-store music curation
Cassandra Goad
Through my time spent at Cassandra Goad, one of my goals has been to align every facet of the Cassandra Goad experience into one holistic identity. Take an eclectic founder with their own independent brand, whose timeless, but utterly unique jewellery, inspired by the many different places she’s travelled to, and you arrive at a focus on travel and worldwide inspirations.
-focused fine jewellery house with a real eclectic taste
rom the personal care you receive when you walk through the door, to the
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Daniel Lopatin (Oneohtrix Point Never) has a trademark sound, which is at once nostalgic, almost familiar while also alien and very much forward-thinking. Pair it with the Safdie brothers’ penchant for tension and the two combine to build a really complex feeling of anxiety that is hard to shake off even once the film is over.
This particular scene unfolds inside a car, with Ray and his bloodied face in the back telling Connie (Robert Pattinson) about the night before. Tight, unconventional framing and quick cuts to Ray’s anxious expressions are used to build pace, as fragments from his flashback cut abruptly across the screen.
The score starts with some ominous bassy tones, and builds into a much more erratic sound: drums, wild 90s-style arpeggios and haunting synth stabs. The sound design works double-time too, switching effortlessly between present day and the flashback from the night before. Lopatin’s score is layered with ambient sounds and speech over the psychedelic neon imagery, illustrating Ray’s hazy, fragmented memories and emotions surrounding the night before.
Rather than pursuing a musically adjacent alternative to Lopatin, I looked for artists whose work could reframe the scene’s anxiety without mimicking its original electronic language. Lopatin’s sound is so specific and self-contained that similar sounds risk feeling like lesser substitutes rather than genuine reinterpretations.