In a clip from a new BBC program on soundtracks, Vangelis explains how his famous theme to Chariots of Fire was a late addition that he had to fight for…..
This excellent three-video series features composer Nathan Johnson discussing the field recordings he and his team used to create the musical fabric for director Rian Johnson’s film Looper. The cue Time Machine from the score is featured.
Johnson took a unique approach to the score, using a field recorder to gather material and then using the found sound as the basis for loops, sample-based instruments and a virtual orchestral.
The latest episode of the SoundWorks Collection talks with Supervising Sound Editor and Sound Designer Christopher Boyes about the his work on The Avengers.
The soundtrack for Everardo Valerio Gout’s Spanish-language thriller Days Of Grace looks interesting – with contributions from Nick Cave, Atticus Ross (The Social Network) and Shigeru Umebayashi (House of Flying Daggers).
The CD isn’t due out until May 8th, but an unusual track from the soundtrack has already leaked out.
The track, a cover of George Gershwin’s Summertime, pairs Scarlett Johansson with 3D (Robert Del Naja) of Massive Attack.
Johansson’s vocal career hasn’t gotten a lot of traction yet and her albums have even been dismissed by some as vanity projects. But this collaboration actually works pretty well, taking both Johansson and Gershwin into new territory.
Check out Scarlett Johansson + 3D’s Summertime and let us know what you think:
Simon Reynolds talks in this video interview with horror master John Carpenter about his soundtracks and the music that inspired them:
Carpenter’s music for horror classics such as Halloween (1978) and The Fog (1980) were startlingly effective in their simplicity, and brought a new sonic palette to film scoring with their focus on synthesizers. The Carpenter sound has recently been revived by a wave of underground artists inspired by its otherworldly menace.
Carpenter talks about his love of early electronic soundtracks by Lois and Bebe Barron (Forbidden Planet), how he got interested in synthesizers and some of his more well-known soundtracks.
Open Mic: Readers Mark Mosher and Bob Tarmac responded to a recent post about the sound design of Forbidden Planet, noting that they had been obsessed and inspired by the soundtrack. And since the 50’s, there’s been a growing body of interesting and exciting electronic music that, for whatever reason, flips a switch in people’s brains, making you think “I want to do that, too”.
I know many readers were inspired by Wendy Carlos’s Switched On Bach and her music for Clockwork Orange; others by the over-the-top shredding of Keith Emerson on classics like Lucky Man; others by the Vangelis soundtrack to Blade Runner or Moroder’s 1978 (!) soundtrack to Midnight Express.
Was there a track that blew your mind when you first heard it or that flipped that switch and made you think that you needed to do electronic music, too?
Let us know what electronic music track changed your life and why – and you may introduce some readers to some great music that they don’t know about.!
This set of videos takes a behind the scenes look at the creation of Anima Morte‘s The Nightmare Becomes Reality.
The Anima Morte project is described as ‘vintage Italian horror music, from Sweden.
Above, Anima Morte recording synthesizers, percussion & effects with Mattias Olsson @ ROTH-HÄNDLE Studio, Stockholm/Sweden – August 2010. Continue reading
Trent Reznor and Atticus Ross have won the Academy Award for their soundtrack to The Social Network.
“When we finished work on The Social Network,” said Reznor, “we were very proud of our work and happy to just be involved in this film. To be standing up here in this company is humbling and flattering beyond words.”
“I’d like to especially thank the Academy for recognizing our work here, and [director] David Fincher, thank you so much for the opportunity,” added Reznor.
The Blade Runner Connection
Backstage, Reznor mentioned one of the inspirations for the soundtrack, Vangelis‘ iconic score to Blade Runner.
“Thankfully, David had a very clear idea of what he wanted,” said Reznor. “The only immediate direction he gave us was that there be no orchestra, be similar to Blade Runner — inhabit the same iconic quality — but not sound dated.”
“It was definitely difficult to score for a bunch of people talking in rooms. There were no landscapes, or battles scenes. It wasn’t obvious to us what shape it would have.”
Reznor & Ross have another score on their plates, David Fincher’s next film, a remake of The Girl With the Dragon Tattoo.