I don't know if it bugs other seasoned film music fans when some random band or artist writes a film score and their name is then splashed about all over the place as though this were the most novel thing since sliced bread machines were invented, but it does somewhat bug me. Then again, a lot of things bug me, but that's not important right now. Yes, a lot of these one off scores are actually pretty good and they are less likely to be lumped with temptrackitis, which is a terrible disease. After all, why get some famous band in to right the music if you're just going to make them copy John Debney?! It's not that film music is a genre lacking in diversity, despite what a lot of people seem to think, but it does seem rather disingenuous to the somewhat unappreciated pool of talent already making their way composing for cinema.
So to Tron: Legacy by the popular beat combo "Daft Punk." No, I've no idea who they are either, but I have to admit, it's really pretty good, albeit fractionally more derivative than I imagined. If you put Zimmer's Inception, some 80's Philip Glass and a bit of Vangelis into a blender, the music would spew out something akin to Tron: Legacy. Actually, the Vangelis aspect is more for one particular fifth based motif that appears throughout which reminds me of Chariots of Fire - particularly during the portentously named Overture. I know two notes make a fifth isn't a lot to go on (especially given the number of Williams themes that start as such), but it somehow seems strongly evokes Vangelis' hugely famous Oscar winner.
The Glass allusions are largely from the repeating figures that occur throughout, dimly recalling the Qatsi trilogy, but more synthetic and with less variation, while Zimmer's low, farting, bass notes from Inception make numerous appearances. I realise I'm probably not given Daft Punk enough credit for proffering their own sound, but the comparisons are more for those unfamiliar with their work than anything. While very synth dominated, there is plenty of orchestra in there, from the chasing strings to brazen brass chords, bolstered by synths (although not with that horrible fake sound that Zimmer uses).
It's a score that I find hard to describe as particularly great in pure musical terms, but the sort of album that draws you back. It has atmosphere in abundance, albeit in a futuristic, techno kinda way; listening to it while travelling on the Tube or around a big city and the whole place somehow takes on some kind of epic, dystopian feel. Any score that can take you to another place like that has got to be worth a listen. I love the old masters of film music as much as anyone, but sometimes a left field musical voice is just what a film needs. Easily recommendable.
In conclusion: 110101010001111001010101011010
No comments:
Post a Comment