"Oblivion" is a song by French band M83 featuring lead vocals from Norwegian singer Susanne Sundfør. It was released as part of the film soundtrack album Oblivion: Original Motion Picture Soundtrack to accompany the film of the same name. It was composed by Anthony Gonzalez.
"Oblivion" | ||||
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Single by M83 featuring Susanne Sundfør | ||||
from the album Oblivion: Original Motion Picture Soundtrack | ||||
Released | 26 March 2013 (as single) 9 April 2013 (on soundtrack) | |||
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Length | 5:56 | |||
Label | Back Lot Music | |||
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M83 singles chronology | ||||
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"Oblivion" has been classified as a "soaring ballad"[1] that features "interstellar synths and cloud-surfing lead vocals" amidst a mixture of "M83′s dream pop [and] more traditional string and horn arrangements."[2] Rolling Stone observed that the song is "capped with a jazzy instrumental section, just like M83's 2011 hit Midnight City",[1] while it reminded Consequence of Sound of "Tangerine Dream’s scores from the '80s".[2] Featuring Sundfør's "booming vocals," the song's choir repeats "In the night, you'll hear me calling" over a "bombastic synth swell.""[3]
The song was released as a single on 26 March 2013,[4] and later as part of the film soundtrack Oblivion: Original Motion Picture Soundtrack on 9 April.[5] On the French SNEP singles chart, the song debuted at number 114 on the week of 20 April 2013, and lasted on the chart for three weeks.[6] M83 and Susanne Sundfør performed the song live on 17 April 2013 on Jimmy Kimmel Live!, making it Sundfør's television debut in the United States.[7] Along with M83 and Sundfør, it featured a drummer, bassist and string section. The performance was well received.[8]
The Express Tribune encouraged viewers of Oblivion to "stick around for the credits that are set to M83's brilliant title song."[9] Moviefone's Drew Taylor opined that it "might be the best theme song since "Skyfall".[10] The Huffington Post compared it to the songs of Florence + The Machine,[11] while Stereogum's Tom Breihan called it a "slow, stately, and gorgeous" collaboration.[12] Mark Hogan of Spin magazine commented that the best part of the song was its outro, as it included "contemplative piano reminiscent of the Twin Peaks theme."[3] Russ Fischer of /Film was more critical of the song, explaining that "this one doesn't do as much for me, as has the tenor of a lot of end credit songs that are tailored to be broadly appealing. Your mileage may vary, however... it'll send a lot of people dancing out of the theater, at the very least, and Sundfør's voice is quite pretty."[13]
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