TSA soundtrack

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« on: June 03, 2013, 02:07:54 pm »
Quote from: Auriga
What should the soundtrack to TSA sound like? Imagine that you're putting together the music for a PON movie. What would it be?

You can either describe it, or link to youtube vids, or say "X should make the soundtrack", or anything. This thread is mostly for fun, and I'm also interested to hear what music other people associate with the scenes in PON.

(This thread isn't about "what do you listen to while you read", since we already have a thread for that.)

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« Reply #1 on: June 03, 2013, 02:08:02 pm »
Quote from: Duskweaver
This.

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« Reply #2 on: June 03, 2013, 02:08:09 pm »
Quote from: Auriga
I personally have this one in mind, especially for the more apocalyptic and "revelatory" scenes of PON:

Geinoh Yamashirogumi - Requiem

I first heard this track in the cartoon "Akira", and found the combo of harmonic chanting, Japanese percussion instruments, and church-style synth organs to be pretty awe-inspiring.

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« Reply #3 on: June 03, 2013, 02:08:16 pm »
Quote from: Curethan
End of TWP - Aurax being ultra-creepy.
Crystal Castles - Plague.

Lyrics are a bit hard to make out, but if you look here I think you'll find them apropos.
Heck the damn song might as well be written about the inchies.

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« Reply #4 on: June 03, 2013, 02:08:23 pm »
Quote from: bbaztek
Quote from: Curethan
End of TWP - Aurax being ultra-creepy.
Crystal Castles - Plague.

man I fucks with this.

silent hill's very own akira yomaoka needs to score the golgotterath scenes.

http://www.youtube.com/watch?v=2_-SUOI680U

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« Reply #5 on: June 03, 2013, 02:08:30 pm »
Quote from: Madness
Harry Gregson Williams. One of my favorite modern composers - MGS has been a huge part of my life.

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« Reply #6 on: June 03, 2013, 02:08:37 pm »
Quote from: Curethan
More traditionally.

Second part - riders of doom.
Kicking arse in Shimeh.

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« Reply #7 on: June 03, 2013, 02:08:44 pm »
Quote from: Madness
Some Reznor, of course.

Apocalyptica.

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« Reply #8 on: June 03, 2013, 02:08:53 pm »
Quote from: Auriga
Dead Can Dance's "Return of the She-King" is another song that I'd put on a PON soundtrack, maybe for the Holy War scenes:

http://www.youtube.com/watch?v=00Zvxlv7an0

Quote from: Madness
Some Reznor, of course.

Trent Reznor is an interesting choice, although his catchy industrial-lite style of music doesn't fit the medieval setting of PON at all. For a pre-modern setting, you need a soundtrack that doesn't sound too glaringly modern and electronic. It's hard to tell, though, because all of Reznor's soundtracks for movies have been basically the same style.

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« Reply #9 on: June 03, 2013, 02:08:59 pm »
Quote from: Curethan
Idk, I like the dark industrial for the Consult - suits their eldritchness somehow.

But Dead can Dance definately yes.

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« Reply #10 on: June 03, 2013, 02:09:05 pm »
Quote from: Madness
Reznor is growing into quite the composer - he's partially responsible for The Social Network's score.

I think that is an interesting distinction, Auriga, though a constraint I don't think I'd share in constructing a TSA soundtrack. All modern fiction is inherently anachronistic in my opinion, after all.

I wasn't necessarily thinking Nine Inch Nails when I wrote that - though, obviously, I would hope that music would influence any Reznor/PON scores. The Mark Has Been Made was the song for all the 300 trailers, ironically never appearing in the movie.

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« Reply #11 on: June 03, 2013, 02:09:12 pm »
Quote from: bbaztek
The score during the human scenes, and especially when we are being introduced to the warriors of different nation, should be appropriately "ethnic", for the lack of a better term. I love Bakker's cultures and the guy has a real knack for historical sounding names. It would be a real disservice to undermine that with a modernized score to lure in new fans, at least outside of Consult scenes.

It's all about aesthetics - whether that's expressed through the art, colors, or music. What's important is nailing a coherent, unified aesthetic for all the facets of Bakker's world. It communicates to the viewer that there is a vision here, and it is being followed. The rest will proceed from there.

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« Reply #12 on: June 03, 2013, 02:09:18 pm »
Quote from: Madness
Again, I'm not sure I share the distinctions.

There are few movies that do period appropriate music, let alone period appropriate sound. Beowulf & Grendel comes to mind as a worthy attempt.

Quote from: bbaztek
It's all about aesthetics - whether that's expressed through the art, colors, or music. What's important is nailing a coherent, unified aesthetic for all the facets of Bakker's world. It communicates to the viewer that there is a vision here, and it is being followed. The rest will proceed from there.

+1.

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« Reply #13 on: June 03, 2013, 02:09:25 pm »
Quote from: Auriga
Quote from: Madness
Reznor is growing into quite the composer - he's partially responsible for The Social Network's score.

And it's a very good (and catchy) soundtrack, but also a very modern-sounding one. It's very contemporary in sound. It's perfect for a movie that takes place in modern America, and clearly the same "spirit" as his Nine Inch Nails music. Just listen to this track, to see what I mean:

http://www.youtube.com/watch?v=Yczul_609Gg

Quote
I think that is an interesting distinction, Auriga, though a constraint I don't think I'd share in constructing a TSA soundtrack. All modern fiction is inherently anachronistic in my opinion, after all.

Obviously. And this goes double for fantasy fiction, where the fictional world is completely the product of an author who is the product of his own environment and times. It's impossible to write "period fiction", about a real or imaginary time, and not be anachronistic.

However, my point was that the (inescapable) anachronism shouldn't be so glaringly obvious that it detracts from our immersion in the imaginary world. Anachronism can be done well or horribly, like everything else. I think we can all agree that the LOTR movies would be worse if Marilyn Manson did the score.

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« Reply #14 on: June 03, 2013, 02:09:34 pm »
Quote from: Auriga
Quote from: bbaztek
The score during the human scenes, and especially when we are being introduced to the warriors of different nation, should be appropriately "ethnic", for the lack of a better term. I love Bakker's cultures and the guy has a real knack for historical sounding names.

This is a quite good idea. We already have the precedent of LOTR, which had "ethnic" themes for the Rohirrim and other cultures, so why not do the same for the Eärwan peoples?

At least the Scylvendi could have a recognizable theme, fittingly inspired by the music of real-life steppe cultures (well, whatever has been recorded of their folk music).

Quote
It would be a real disservice to undermine that with a modernized score to lure in new fans, at least outside of Consult scenes.

I agree 100%.

Also, I never imagined the Inchoroi and Consult scenes to have a "modern-sounding" industrial score. Rather, they should have completely strange and otherworldly music, with a lot of choral elements, to give a haunting "alien" sound. Something like the weird track "Primordial Germination":

http://www.youtube.com/watch?v=JLmiYD49EcY