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1492 CONQUEST OF PARADISE - Vangelis 1492, absolutely wonderful score, quite a difficult film to love, but I still do Agreed about 1492 being a wonderful score, but not sure if I can still count 1492 as an electronic score? Seems to me as if at least 50% or more of its soundscape was created acoustically?
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NO SYNTH = NO SALE
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Yes, we're seeing some crazy choices here as electronic scores! LINK by Jerry Goldsmith features the NPO and a set of Simmonds drums. HEARTBEEPS by John Williams!!! Yes, there are some synths but it's just as symphonic as STAR WARS and ET. LADYHAWKE is as orchestral as they come, with some synths and a rhythm section. I agree. I don't consider any of the scores you mention "electronic".
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1492 CONQUEST OF PARADISE - Vangelis 1492, absolutely wonderful score, quite a difficult film to love, but I still do Agreed about 1492 being a wonderful score, but not sure if I can still count 1492 as an electronic score? Seems to me as if at least 50% or more of its soundscape was created acoustically? I would absolutely call this electronic: https://youtu.be/YnNFpQLAT5Y
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2010 Blue Thunder The Terminator (I never really listened to this until this week. It's like mainlining the 80s) Forbidden Planet Wendy Carlos's work
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“Essential” is debatable, but these favourites have gotten the most play time: 100% electronic (in no particular order): Antartica Prince of Darkness Sorcerer Witness Criminal Law = or > 50% electronic + acoustic (in no particular order): Blade Runner Tron Sheena Alexander Extreme Prejudice That's a better and more sensible way of compiling one of these lists. So many "electronic scores" are hybrids of electronic and acoustic.
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It took twenty posts for someone to list HALLOWEEN and it has yet to be mentioned again and I am so not okay with this. Youre welcome. I loved Assault on Precinct 13 too, but Halloween was his first, most obvious electronic score. If id got to the thread sooner, it wouldnt have been 20 posts!
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