Obviously, the title of the thread is not true, but I think the development of electronic music and the synthesiser has played an important role in cinema, so i’m surprised to see any animosity towards it when you consider the significance of technology, sitting down and listening.
Do you like tunes like At Les by Carl Craig ?
Try not to look at the video, however. The music is good on its own.
I don’t have an aversion for electronic music—either within or without films.
Invocation of My Demon Brother by Kenneth Anger, feat. The Rolling Stones.
One of the first movies to use synthesizer.
i have the first all electronic soundtrack, forbidden planet! louis and bebe barron were pioneers!
I enjoy the electronic music made by Germans in the 70s.
No aversion here. Electronic music has been pretty important for films, in liberating budgets and experimentation with soundscapes, ambience. Fusion with the typical orchestra as well.
I won’t say I’m a complete freak about electronic music with a history of
wanton fiscal abandon in the pursuit of yet another rare track or remix by (insert electronica artist here).
That’s already been said about me by others.
But club members enter my tree house with the greeting, “All hail Robert Moog.”
And my doorbell plays the first four notes of Gary Numan’s “Are Friends Electric?”
Don’t get me started on Brian Eno.
Or Boards of Canada.
Or Cabaret Voltaire.
also let me just say: trent reznor’s soundtrack work is genius. he has found his true calling =D
Obviously, the title of the thread is not true
With all the creative minds working in the industry, it won’t be long before somebody finally decides to score a film using a Dave Smith Poly Evolver. It’s a weapon! It has four voices and four oscillators per voice, two analogue and two digital. Incomprehensible and there is just no other synth like it on the market. Mantovani might have weeped.
There are a few things about A Clockwork Orange that bother me, but Wendy Carlos’ soundtrack pretty much makes up for them. Carlos’ synthesizer work is great.
Some of my favorite films with notably electronic soundtracks:
Michael Mann’s Thief (1981), scored by Tangerine Dream.
Paul Schrader’s American Gigolo (1980) and Cat People (1982), both scored by Giorgio Moroder, and also his music from Alan Parker’s Midnight Express (1978, from which came his trademark hit “Chase”) and Brian De Palma’s Scarface (1983).
Don Davis’ scores to The Matrix sequels “Reloaded” and “Revolutions” (both 2003) featured collaboration of a very astonishing sort with Juno Reactor, which started out as a goa trance outfit and has over the years become a very musically eclectic and culturally encompassing group of musicians, blending the electronic with many worldly forms of music.
David Fincher’s The Social Network (2010) features perhaps some of the best instrumental musical creations (though I’m a bit iffy on the whole “In the Hall of the Mountain King” piece, which seemed to be a bit much in my opinion) from Trent Reznor. Have yet to see the Dragon Tattoo remake or hear Reznor’s soundtrack for it.
I second affinity for Anger’s Invocation of My Demon Brother (1969) and the Mick Jagger soundtrack, very much an assault upon the viewer’s senses.
“also let me just say: trent reznor’s soundtrack work is genius. he has found his true calling =D”
That, my dear Ruby Stevens, is not true. Although, he is a genius and his work suffers his genius. I haven’t actually listened to any of his soundtrack work; I’ve been putting it off and I shouldn’t.
Out of all the popular genres I think electronic music is innovating the most right now.
There’s plenty of good electronic music out there being done by folks like A.R. Rahman, Cliff Martinez, the guys from Air and Daft Punk on films these days. The RZA’s score for Ghost Dog was pretty amazing and I would consider it electronic. The Chemical Brothers did a nice job on Hanna.
I don’t hate electronic music, so there.
Yeah, Trent Reznor is a real studio guy. I’ve just been watching videos of him with all his gear doing the Social Network, the Swarmatron looks cool, sometimes the limitations of having only a few specific units can be an advantage to creativity rather than a burden.
7.1 is available on blu-ray but most theatres haven’t caught up with the technology you would find in sound installation projects where the most innovative things are happening with Soundfield recording and higher order Ambisonic systems that provide more height as well as lateral information to give a fuller periphonic and 3D environment.
Mix engineers who really understand the importance of space in a mix, say Conny Plank, would have gone wild with this kind of technology, or acousmatic theorists like Bresson. Imagine a new 3D sound and image 2001 Space Oddyssey or Playtime.