See what I did in the title, Successfully incorporated both the movie Tron and its successor Tron Legacy.
Both of which to me are pivotal soundtracks in discovering that music in films actually is made by someone, and deserve raised attention.
As a young dumb individual, as opposed to old and dumb, I gave music in film little or no attention. There are a few exceptions where music stuck etched in my mind. Tron is one, alongside select tunes from defining films like The Goonies, Gremlins, Alien and Contact to name just a few scattered over the years.
I’ll admit that Tron blew me away in so many ways that I can’t go through them all. The Movie in itself was amazing, fantastic and really blew my mind. The things you could do, truly amazing.
Was it really like that inside computers? It seemed to good not to be true.
It had a great story, and excellent actors. Cutting edge technology and, what seemed to me, an totally awesome score.
Before this I did not know what a synthesizer was, my world consisted of perhaps my brothers various rock bands and our family piano. All the other instruments simply was not. Until Tron.
Someone told my about this strange character called Walter Carlos who dabbled with this strange electronic instrument called synthesizers. Hmm, I thought, interesting.
Did you know that Walter actually is named Wendy now, He had a sex change.
Whaaaaat? I was doubly amazed. (first time I heard of this) A Man/Woman who made these amazing sounds on little (or not so little in most cases) electronic doo-whackies. I remember having to do a mental reboot.
Lets talk a little about Wendy Carlos.
She is perhaps not the biggest pioneer in electronic music, but to me she is perhaps the most influential in making synthesizers publicly acclaimed as “real” instruments. 1968 saw the release of Carlos’ “Switched on Bach” an album of Bach compositions recorded entirely on Synthesizer, and especially the Moog synthesizer. This album is so impressive in some ways and not so much in others.
It was recorded track by track on monophonic synthesizers layering together chords and “orchestras”. This was after all before MIDI or other systems. An incredible feat. Some really nice programming of sounds and as i said it validated the synthesizer. But it sounds a bit like a small and overly ambitious ensemble. If you like the classical music, a real orchestra is better. If you like synthesizers, then it is an absolute must hear. If only to hear how well she’s emulated certain instruments and some quirky imaginations of sounds.
After that she recorded a few similar albums including the aptly named “Sonic Seasonings” before going into film music.
She got off to a great start with Kubrik’s “A Clockwork Orange”, and then “The Shining” before making an explosion on my radar with Tron.
The score is Very orchestrated compared to other electronic scores which were at the time mostly utilizing synthesizers for strange noises or over-accentuating strangeness. Tron is skittish and gleeful and ominous and dark all at the same time. Beautiful passages interwoven with fanfares or staccato “brass”. Listening to it doesn’t lull you to sleep.
She made good use of various synthesizers and it really shows (hears?) that she is well schooled, having received education both at Brown and at Columbia.
The thing that really stand out with her score apart from being a orchestra of synthesizers (And yes London Philharmonic are in there too) is that it actually doesn’t work as well on it own. When combined with the film it is outstanding. Accentuating with both pomp and subtlety everything going on in the film. But on its own it feels a bit “empty” for lack of better words. This is a good example of that her music doesn’t exceed the boundaries of the film, it doesn’t take control of it or surpasses it. It just helps and ties it all together. Now I can listen to it and see in my mind the film to the music, that helps a lot. The same goes for “A Clockwork Orange” and “The Shining”.
Then 28 Years later…
Tron Legacy arrives. If you are a fan of the original Tron (like me) you probably wet your pants when the first trailers were released (again like me). Revisiting Tron, I though, what an awesome idea. And Daft Punk will make the music? Well, here I admit I was doubting the decision and feared a close to techno/dancehall score, doing more harm than good. Granted I wasn’t too familiar with Daft Punk, heard a few songs, and liked them but it was always a bit too edgy, too fast or too much for me.
But that wasn’t going to stop me from seeing the movie, no way. Once a follower of Flynn, always a follower of Flynn.
And so… Premier night.
BAM.
The music blew me away again. “Overture”, soft orchestra at first, strings and woodwinds, and then enter the synthesizers (though doubtfully anything too Analog) along with the orchestra, the whole room starts shaking, a really fat bass. And a really compelling simple beautiful melody. This is later reinvented throughout the whole score.
Then “The Grid”, lovely bit-chopped drums and even more sweet synthesizers. And I’m hooked. Granted, hearing “Flynn” talking again added some spice.
Some tracks are mostly drums and synths being used in unison as a more rhythmic than melodious tool. These tracks are the weak link in this score. But like with Carlos‘ score these tracks are almost impossible to listen to without the actual film.
But then there’s “Adagio for Tron” almost a 3 piece suit where I’m sure a good orchestrator and his 85 piece orchestra has lent a valued hand, nevertheless it it absolutely stunning. Wonderfully emotive and compelling, it pulls you in to a world more reminiscent of Carlos‘ original score for Tron than the rest of the score for Tron Legacy. I’d say either it was done as an homage to the predecessor or it was done to salute the orchestral side of Tron.
The one thing that stands out with Daft Punks score is Simplicity. That doesn’t mean it is dumb or stupid only that it is exactly what it needs to be.Another parallel to Carlos‘ score. Don’t be more than the images being projected. Its simplicity lets us quickly add resemblance to themes, recognition and ultimately an “understanding” of the music. an understanding of what the music is meant to project.
And It was a nice experience to once again publicly state that synthesizers are real instruments. That electronic music can hold every bit of worth and meaning as classical music.
And if I have to pick a winner?
Tough call. But I’d have to say Wendy brings it home, for effort and for perhaps having a better film to work with. I’d like to say that on one hand her score is more evolved but on the other hand I listen to Tron Legacy a lot more. And then especially previous mentioned tracks. The simple and effective “Son of Flynn” from Tron Legacy is also played a lot.
So there you have it. If you haven’t listened to Wendy Carlos (really listened) I dutifully invite you to do so, if not for anything else than to marvel at her compositions and what a painstaking procedure recording them must have been. She is also a very interesting person both in music and in other aspects.
And if you haven’t heard Tron Legacy, I suggest you start with the first 3 tracks “Overture”, “The Grid” and “Son of Flynn”, and then skip to “Adagio for Tron”. And if you still want more the proceed to hear the rest.
Happy listening/viewing.
PralinPappan 