 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GREEN CARD - Hans Zimmer
TANGO & CASH - Harold Faltermeyer
NAVY SEALS - Sylvester Levay
TWO MOON JUNCTION - Jonathan Elias
1492 CONQUEST OF PARADISE - Vangelis
|
|
|
|
|
|
Tricky... especially as the question arises when a score is counted as "electronic".
For example, indeed, I would say BLADE RUNNER is an "essential" (electronic) film score, but it has acoustic elements (quite a few really), it is not purely electronic. And in consequence, a score like TOTAL RECALL is largely acoustic, but features electronic elements (quite a few really). So where exactly is the line?
But without giving this now too much thought...
Here are five score I consider "essential". Since it is about "essential" scores, I tried to name scores not just because I personally like them (though I do and it certainly influenced my selection), but also those that I find somewhat relevant to the history and development of electronic film scoring, or worthy to check out and consider or at least be familiar with in the larger context of film music.
FORBIDDEN PLANET (Louis and Bebe Barron)
THE ANDROMEDA STRAIN (Gil Mellé)
SORCERER (Tangerine Dream)
BLADE RUNNER (Vangelis)
THE TERMINATOR (Brad Fiedel)
|
|
|
|
|
|
|
I've kind of nodded my head at most choices here, from Forbidden Planet to Mr. Robot. I was surprised that John Carpenter hasn't seemed to come up.
I don't know about essential, but these are the albums I listen to most, so I guess they must be for me, rather than influential or important in the films. Also I'm not worrying about whether the instrumentation is all electronic.
Andromeda Strain - Gil Melle
Blue Thunder - Arthur B. Rubinstein
Broken Arrow - Hans Zimmer
The Fog - John Carpenter
Prince of Darkness - John Carpenter/Alan Howarth
T2 - Brad Fiedel (ok that's six, I cheated, sue me!)
For composers and bands like Tangerine Dream, Wendy Carlos, Vangelis, Klaus Schulze etc., my most listened to albums are not soundtracks.
|
|
|
|
|
|
|
|
|
|
Okay, an essential personal top five is something I can do.
In no particular order:
1. "Jake Speed" (Mark Snow) (I played the fuck out of that a month or two ago)
2. "Sheena" (Richard Hartley; though I don't think it's all synths)
3. "1492: Conquest of Paradise" (Vangelis) (especially that cue by the name Conquest of Paradise)
4. "The X-Files" (Mark Snow) (yeah, I'm lumping in all the episodes into one listing; so sue me
And since it's too easy to just keep listing more Snow, I'll pick somebody else instead...
5. "The Bug Blue" (Bill Conti) (though some real strings were recorded for some cues, as per Conti in an older interview)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I think one just has to draw the line oneself. As I mentioned earlier, I open up to some scores with acoustic elements (like THE ROCK or CRIMSON TIDE) as long as its sound is predominantly electronic, and based on electronic modes of composition and structure.
How do you define "electronic modes of composition and structure"?
In any case, my list:
5) Doctor Who: "The Leisure Hive" (Howell)
4) Witness (Jarre)
3) L'Apocalypse des Animaux (Vangelis)
2) Apocalypse Now (Coppola)
1) Blade Runner (Vangelis)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Is there a line here for wholly electronic (say something realised on a Yamaha or Synclavier or whatever) by the single composer/performer, or the 'electronic ensemble' thing, that the likes of Maurice Jarre and James Horner would often create, with fellow performers?.
I think one just has to draw the line oneself. As I mentioned earlier, I open up to some scores with acoustic elements (like THE ROCK or CRIMSON TIDE) as long as its sound is predominantly electronic, and based on electronic modes of composition and structure. For Horner, I would obviously allow stuff like THE NAME OF THE ROSE, but I would not include predominantly orchestral scores where he uses synths for occasional colour (like TITANIC or whatever).
Yes, that's how I approached it... I looked for both predominant electronics and electronic modes of composition. Obviously, there are not cut and dry lines.
|
|
|
|
|
|
Midnight express
Sorcerer/ (and Thief)- tangerine dream
Halloween.
Blade Runner
Terminator
Altho electronic scores became de rigeur in the 70s n 80s, and at the time i found them fresh and innovative and groundbreaking. Some do still hold their magic, like these five and a few others, but too many are dated, tired, one dimensional and ive simply grown out of them.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
