Soundtrack Research #13

SNOWPIERCER- Bong Joon-Ho

'This is the End'- Marco Beltrami

Wind, white noise, high-pitched suspended echo, delicate piano chords, slow and fragile, eerie, hollow sounds in the background contrast to beautiful piano chords, melancholic strings or synth, anticipating something, low rumbling crescendo of percussion and brass, implies a sense of danger, then reverts back to very delicate almost hollow sound.

'Preparation'- Marco Beltrami

Quite a contrast to 'This is the End'. Fast pace, low walking bass, brass, chimes and strings, synths, a mix of high pitched sound and low rumbling sound, strings enter a rising, repeating sequence, implies progression and possible danger, timpani drums 

'Seoul Train'- Marco Beltrami

Rising, fast paced synth, implies the sense of a journey, similar to the 'Stranger things' opening theme, which was created from a sketch called "prophecy". The theme features analog bass synthesizers and is built around a C major arpeggio. If sounds could strobe then that is what 'Seoul Train' would be described as. It sounds as though you've entered a strange techno nightclub with very intense, hard, fast-paced sounds. A mix of percussion and synthetic sound. We are then introduced to repetitive chugging sounds. The synthetic sounds mimics that of a train chugging along. It sounds like it's been filtered or muffled to make it seem more eerie. There is a sense of urgency in this sequence. It lasts for practically the rest of the song but enters higher frequencies like a train would actually do in real life.  

CHILDREN OF MEN- Alfonso Cuaron.

'Omgyjya-Switch7'- Aphex Twin

This song stuck out to me as it's an accumulation of lots of different strange sounds. Very futuristic and playful. It broadens the possibilities of what i could create for my own soundtrack. It doesn't necessarily need to have chords, i can attempt to create a song in which you can't identify what instruments are being used. Make it more ambiguous. A mix of synthetic sounds and percussion. It's very weird but effective. It reminds me a little of John Cage and his prepared piano; where he'd lay objects on the inside of the instrument, therefore disrupting the strings and creating percussive sound instead. 

'Life in a Glasshouse'- Radiohead

From the album 'Amnesiac', 'Life in a Glasshouse' features the Humphrey Lyttelton Band playing in the style of a New Orleans Jazz funeral. The song starts with an ad-libbed, bluesy, minor-key meandering, then it gradually gets wild and primitive. I love the playful-ness of this song contrasted with it's underlying melancholy. 

JOHN CAGE

'In a Landscape' 

Composed in 1948, Cage's minimalist solo piano work 'In a Landscape' was composed with the idea that the purpose of the music was "to sober and quiet the mind, thus rendering it susceptible to divine influences." This song reflects Cage's delicate writing, which he builds a sense of peace and serenity upon.

Cage sets up a strict symmetrical structure that the music follows at a slow pace. The mesmerising harmonies resonate throughout, creating an ethereal atmosphere, which cleverly invited the audience to relax and reflect. There is an absence of dynamics throughout which, paired with cyclical repetition of notes, creates a very still atmosphere. It's been said that 'In a Landscape' is one of the purest forms of minimalist music due to its single divine theme and stillness. 

'Three dances for two prepared pianos No.1'

In contrast to Cage's mindful and delicate composition 'In a Landscape', his prepared piano invites us into a completely new and juxtaposed realm of music. This piece was written in 1945 for the virtuosic duo Robert Fizdale and Arthur Gold. Although it was written for the concert stage and not dance, its driving rhythms and energy make one feel like getting up and moving. The piece compromises three movements in a fast-slow-fast order. The influences of oriental music are evident in the piece; with the piano preparations, the timbre of the piano is altered to sound like the resonant metallophones of a gamelan ensemble, and its percussive nature is emphasised. The rhythmic structures also hint at the use of the Indian tala, where beats are grouped together. In the second movement, some phrases sound like a player improvising on Indian drums. Cross rhythms are present throughout the piece, giving rise to tension, excitement and even chaos. His work inspires me to try and manipulate sound into something that it's not. The possibilities are endless. I will experiment with unconventional objects around the house, record them and put them through either Pro Tools or Garage band. My illustrations are quite abstract and so is John Cage's music so i want them to be able to compliment each other and speak to each other to make the overall experience more enjoyable. I want to make this project as sensory and immersive as possible. 

 

IGOR STRAVINSKY

'The Rite of Spring, Part 1. VIII. Dance of the Earth'

A ballet and orchestral concert work by the Russian composer Igor Stravinsky. When first performed on the 29th may 1913 in Paris, the avant-garde nature of the music and choreography caused a sensation. It has been referred to as a "riot" or "near-riot", as nothing like this had ever really been performed before. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece and is widely considered to be one of the most influential musical works of the 20th Century. The narrative behind the dance depicts various primitive rituals celebrating the advent of spring, after which a young girl is chosen as a sacrificial victim and dances herself to death. You can see why this may have been seen as outrageous for some audiences. The reason I have added this piece to my soundtrack research is because Stravinsky isn't afraid to think outside the box and push limits to create a powerful, controversial piece of work. His work, like John Cage's takes music and manipulates it into something fresh and new. I want to have fun experimenting with different sounds to see how outrageous i can go. I feel like all music tells a story to a certain extent however, Stravinsky's 'Rite of Spring' has a very specific narrative behind it so it's interesting to listen to music that has been written around a story as opposed to music that develops a story as it's being created. The structures seems quite different. With Stravinsky, he has sudden changes in pace and tone which implies a sudden and important change in the narrative. You feel the structure through these bold choices. As i have a basic narrative to go alongside my illustrations, hopefully i can use that to gain inspiration for my soundscape. The images i've created will hopefully give me a sense of the music's tone, and the kind of feelings i want to evoke through it. The time period i have set my story in is also very important. I can't use instruments like the harpsichord that you'd find in baroque music. Instead i need to use modern instruments and synthetic sounds to emphasise the digital era that i've set the story in; modern, high-tech, advanced, dystopian and futuristic. Stravinsky's piece has simply inspired me to make bold moves and experiment with the sounds i can create. Make sure that the music i create can carry a story.

BLADE RUNNER

'Main Titles' 

Ridley Scott's 1982 sci-fi noir film, music composed by Greek electronic musician Vangelis.

Synthetic, dissonant sounds, eerie, voice over with robotic responses and sounds, futuristic. I could maybe incorporate a voice-over to help carry the narrative. Or the voice-over could be some kind of radio station/ news presenter type thing for the world i'm creating? Imply a sense of omnipresence having announcements from a higher being echoing around the world. 

ROAD TO HELL PT. 1 AND PT. 2- Chris Rea

The song was inspired by the frustrations of M25 and M4 motorway peak-hour traffic. The song begins with a rather calming sound of the rain. Then enters samples from radio stations from across the world, all in different languages. A delicate and melancholic piano sequence can be heard over the mumbling of the radio presenters. The phrase "more bad news for folks on the freeway" repeats as the song builds and becomes more prevalent when the song enters into a deep, bass driven cinematic swell. It suggests danger, tension, unease. Unsettling, moody, atmospheric. 

Throughout the album 'The road to hell' (1989), there are repeated references to increasing societal dissolution and rising violence, including riots, murder and their irresponsible depiction on television news ('You Must be Evil'), and "the perverted fear of violence" on city streets ('The Road to Hell Pt.2').

I created this experimental soundscape during the spring, as we entered our first national lockdown. It was created in response to the effects of Covid-19. The initial inspiration for it came after watching the queen's royal announcement. She quoted Vera Lynn's song "We'll meet again." I then sampled that specific part of the speech and played the song just after the queen uttered those key words; we will meet again. I then sampled various snippets from news broadcasts from across the world. I wanted to do this to get as wide a perspective as possible as each part of the world has been effected by and dealt with corona differently. I then layered some of these samples so that i'd have people talking over one another. This made it seem more manic and urgent. I really liked the effect this had, contrasted with Vera Lynn's hopeful song "We'll meet again." I learnt a lot just through doing this and researching "The Road to Hell' reminded me of this soundscape. Maybe i can try and develop my skills and create something similar for this project.

PINK FLOYD

'Echoes'

This song is longer than 20 mins and develops the entire way though, while keeping a familiar pace. Begins with high-pitched, science fiction like echoes/droplets of sound that ricochet through the song. Slow persistent, percussion. Guitar with a pedal. Very progressive. Starts slow, elements of sound layer and get added in. Takes you on a journey due to this progression. Ethereal vocals pull you into a dream-like, echoey atmosphere. 

Mechanical bird-like sounds. Eerie, wind sounds. Makes you almost feel cold and like your in some kind of void-like space. This song contains several extended instrumental passages, largely ambient sound effect and musical improvisation.

'Is there anybody out there?'

Musically, it's a droning bass synthesizer with various sound effects layered on top, and a repeating chorus of "Is there anybody out there?". The shrill-like sound effect used during this song is also used in "Echoes". The noise was originally used as a sort of whale call for the deep-water-based "Echoes". 

'Time'

Very experimental with its use of sampled clock sounds, ticking noises, alarms, bells and chimes. It develops into a pulsating rhythm that sets up the rest of the song. Bass synthesizer and guitar contrasted with chime sounds, percussion and a ticking beat (rather like a metronome). It makes for a very interesting song and creates more of an immersive, atmospheric experience. 

THE NATIONAL

An American rock band formed in 1999. The band consists of Matt Berminger (vocals), Aaron Dessner (guitar, piano, keyboards) , Bryce Dessner (guitar, piano, keyboards) , Scott Devendorf (bass) and Bryan Devendorf (drums).

'The System only dreams in total darkness'

"Heavy and urgent and surprisingly aggressive." It begins with some very melodic, delicate and beautiful female vocals. It's almost immediately met with drums, piano and some gnarly guitar. It's quite the contrast but it works so well due to the timing and the build. The guitar has a riff that repeats itself throughout the song as it continues to build. It keep listeners on their feet and gives the song that room to grow even more. Having a strong theme running all the way through helps to carry the story. We then realise the importance of this little riff as Aaron Dessner enters into guitar solo in the middle of the song. The guitar building up to the solo is almost like a story hitting its pinnacle point. This song inspires me to create some kind of motif that will run throughout the entire soundscape. The motif could be for the world or for a character that i create for the comic. Whatever it turns out to be, it will help to carry and develop the story; build tension, decrease it again and get us to that pinnacle point. 

BRYCE AND AARON DESSNER 

Bryce Dessner is an American composer and guitarist based in Paris. He is also well known as a member of the rock band, the National. His twin brother Aaron is also a member of the band. They write the music together, in collaboration with the lead singer and lyricist Matt Berninger. 

'Big Red Machine'

This is one of my favourite Aaron Dessner songs and he is accompanied by Justin Vernon (otherwise known as Bon Iver). The two later went onto form the band 'Big Red Machine' so this song acts as a teaser for what was to come. In a way, it could be see as a song that foreshadows their next chapter as musicians. This gives it more meaning and carries a narrative that is yet to be told. It's beautiful and almost hypnotic, with the sustained piano key running all the way through. It becomes white noise and you just get lost in the song. I also really like it because it's simple. There's not too much going on so you can hear and appreciate every element of the song. This song reminds me not to overcomplicate something where it's not necessary. Sometimes the simplest things are the most effective. 

BIG RED MACHINE

American experimental indie folk rock band. A collaboration between musicians, Aaron Dessner and Justin Vernon.

"The debut collaboration of Justin Vernon and Aaron Dessner is gorgeous and ponderous, a document of a creative process that feels a bit like watching someone get purposefully lost"

"Thematic, sensory and impressionistic. Their compositions are all suspension and ellipses, Vernon's lyrics are mostly sativa-fuelled poetry overlaid with the kind of yearning that comes from years of writing songs about doomed lovers."

I don't plan to have any lyrics in my soundscape, however, the illustrations i've created can substitute almost as visual poetry that carry a story; not about doomed lovers but more a doomed world! The instrumentation within their songs however, is enough inspiration to get me starting experimenting. They use instruments in such a way so that it feels slow and fragile yet you can tell that there's a lot more depth behind this fragility. In their song 'Forest Green', they use quite a lot of percussion. It's not overpowering but it just reminds listeners that this is a rock band as well as indie folk. The percussion also breaks up the song, helps to give it more structure and carry the story more easily. It gives it rhythm and a sense of urgency through the delicate synths and strings in the background. 

'Hymnostic' 

The beginning of this song makes me think of sleep. The rhythm feels like someone breathing deeply. The sound is also muffled and slightly crackly, like the feedback you'd get from a television. It's very dream-like and transports you into that state. The song them develops into a pretty piano sequence that compliments the white noise we just heard before. Just before we're about to fall into this sleepy rhythm, the piano and vocals come in at the perfect time. The percussion is very slow but keeps the pace of the song. In the second verse, the instruments can barely be heard and we are just exposed to near raw vocals which is beautiful. The backing instruments then grow and comes back to finish the song. It truly does feel like a dream-like journey because of the unconventional sounds used and this is something i'd like to try and replicate in my soundscape.

What next?

I plan to experiment in multiple different ways, each inspired by some of the artists i've researched above. I will see which works best and which feels right for my narrative and develop from there.