Tangerine Dream has been hugely influential in the world of film soundtracks, and, more recently, in the world of video game soundtracks. The group has scored over 50 films, including indie films, ‘b’ movies and mainstream Hollywood films.
While it was not their first soundtrack, their score for the 1977 William Friedkin flim, Sorceror, kicked off a 15-year period of intense soundtrack work.
The film was a bomb when it was released. It followed Friedkin’s critically acclaimed and wildly successful The Exorcist. Viewers may have expected another supernatural-themed story, based on the film’s title, or may have been put off by the film’s non-English sections.
Since then, though, Sorcerer has gained respect as an intense, existential thriller – and Tangerine Dream’s music has become one of their most well-respected soundtracks.
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 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.