Press Reaction: Jóhann’s ‘Arrival’ score

“Johann Johannsson’s menacing, melancholy score, creates a heady, sensual atmosphere in which the boundaries between thinking and feeling are artfully blurred.” – The New York Times 

“Jóhann Jóhannsson’s score is so integral to the images that it may as well be their heartbeat—it’s spooky and sonorous, a spectral hum.” – Time 

"Johann Johannsson's unsettling music — an ominous drone punctuated by horn blasts that sound like other-worldly whale calls — underscores their strange majesty." – The Hollywood Reporter

"The gaunt score by Jóhann Jóhannsson, who also soundtracked Villeneuve’s drug-cartel thriller Sicario, is little more than a chest-tightening bass note – think scraped piano wire – and a half-sung, half-blown melody line that seems to exist outside of any earthly time signature. It makes the Close Encounters of the Third Kind musical motif sound like the Macarena:" The Telegraph

“Instead Bradford Young's visuals do a great deal of the storytelling, along with Adams’ exceptional performance, the evocative sound design and Jóhann Jóhannsson‘s insta-classic strings-based score.” – The Playlist

“In this case, two of the film’s undeniable MVPs are cinematographer Bradford Young, the genius who shot 'Selma' and 'A Most Violent Year' and composer Jóhann Jóhannsson. The latter’s compositions here are essential to every emotional beat of the film, defining the air of tension in the first half of the film and the moving undercurrents of the final act.” – Roger Ebert