Whereas Zimmer and company often limit the scope of their electronic palette, Daft Punk opens theirs up to encompass a massive range. The multiplicity of tones, sample types, and nostalgic throwbacks to the synth sounds of the 1980s give the electronic parts of Tron: Legacy a depth and variety almost never heard in scores of this type. Many will inevitably compare this music to that of Hans Zimmer, especially his recent score for Inception (listen to “Recognizer”), but while the orchestral tones are similar in their chord progressions and rhythmic ideas, the electronics have a sophistication way beyond anything anyone from Remote Control has shown to date. It becomes even better when it mixes with the large-scale symphonic forces provided by the London orchestra, which humanizes and warms the electronic tones, giving them an emotional center and a great deal of power and gravitas. There are no direct statements of any of Carlos’s thematic work on the original Tron, but her fingerprints are everywhere, and I have to say that this is some of the best synth writing I have heard in a film score in years.
In terms of the stylistics of the electronic music, there’s a little bit of John Carpenter, a little bit of Brad Fiedel, a little bit of Vangelis, and (obviously) a little bit of Wendy Carlos, all mashed together and filtered through Daft Punk’s high energy rhythmic sensibility, but with a larger scope and a greater lyricism than any of these other pioneering electronic composers brought to their scores.
With its overarching themes of the human world being invaded and overtaken by its digital counterpart, Tron: Legacy has a reason to be electronic, and Daft Punk’s skilful merging of the two musical palettes is one of the most engaging things about this excellent score. I like electronic scores when they have a reason to be electronic, not when synthesizers are simply used to double up or (even worse) imitate on an orchestra. Many readers may be under the impression that I don’t like electronic scores, but I can categorically say that this is not the case. Bangalter has previous film music experience, having scored the extremely controversial French film Irréversible as a solo composer in 2002, but this is the first time Daft Punk, as a group, has scored a film.įollowing in the footsteps of Wendy Carlos, who scored the original Tron, Daft Punk have expanded their electronic palette to include a 90-piece symphony orchestra recorded in London. Their gimmick is that the pair of them wear stylized crash helmets and futuristic body suits on stage, giving them a sort of detached, other-worldly public persona a little like the Blue Man Group, or what Slipknot used to do in the hard rock scene. They first emerged as part of the French house music scene in the early 1990s and became hugely influential and successful, eventually going on to enjoy chart hits such as “Da Funk”, “Around the World” and “Harder Better Faster Stronger”.
Tron legacy soundtrack flynn lives movie#
The film, which stars Olivia Wilde and Michael Sheen and sees both Bridges and Boxleitner reprising their original roles, is Disney’s big movie for Christmas 2010, and features an original score by Daft Punk.įor those unfamiliar with their history, Daft Punk is a French electronic music duo comprising composer-musicians Thomas Bangalter and Guy-Manuel de Homem-Christo. With the help of a beautiful warrior named Quorra, Kevin must traverse this astonishing landscape and find a way home. The sequel, which is directed by Joseph Kosinski, sees Flynn’s son Sam (Garrett Hedlund) suffer the same fate as his father, albeit 20 years later, when he receives a mysterious message from his father’s old video game arcade and subsequently becomes trapped in the same digital world – which in the intervening years has become bigger, more visually stunning, and much more dangerous.
Tron legacy soundtrack flynn lives software#
Tron: Legacy is a very belated sequel to the 1982 science fiction classic Tron, which starred Jeff Bridges and Bruce Boxleitner and introduced audiences to what were then state-of-the-art computer graphics in a story about a computer programmer named Flynn who gets sucked into his own software programme and is forced to take part in vicious gladiatorial games by the omnipotent Master Control Program.
0 kommentar(er)
