#MOVIE GHOST SOUNDTRACK MOVIE#

вЂњOsamuвЂ™s Theme (KYOKOвЂ™S HOUSE)вЂќ sees the primary string motif played on a jangly electric guitar, reflecting the more flamboyant early nature of his character, while the distinctly militaristic bent of вЂњNovember 25: ICHIGAYAвЂќ drives home the somber nature of MishimaвЂ™s final day on Earth. The minimalistвЂ™s signature repetitive style allows him to use other elements, such as dynamics and instrumentation, to illustrate MishimaвЂ™s life. Philip GlassвЂ™ score is not so much preoccupied with MishimaвЂ™s extremist ideals as it is with dramatizing the man himself, and the fact that Glass chose to adhere exclusively to Western tonalities only drives home the filmвЂ™s operatic nature. Paul SchraderвЂ™s biopic Mishima: A Life in Four Chapters is a Japanese-language portrait of Yukio Mishima, the postwar writer and right-wing nationalist who captivated his nation before meeting a grisly demise, one that continues to bewilder historians to this day. But the queasy sound-vapors also suggest thought-waves from Solaris itself penetrating the minds of the astronauts, blindly striving to understand consciousness unfathomably different from its own vast self. This palette of subtle shades and shimmering drones enabled Artemiev to depict the unsettled atmosphere on the space station, where the guests are driving their hosts out of their wits. The ANS supplied a panoply of microtonal intervals and dense polyphonic chords unachievable on other synths at that time.

#MOVIE GHOST SOUNDTRACK MOVIE#

Entrusted not just with scoring the movie but creating вЂњan overall conceptual idea for all the sound used,вЂќ Eduard Artemiev turned to a Soviet synthesizer called the ANS that generates sound by a unique photo-electronic method: Composers вЂњdrawвЂќ soundwaves which are turned into audio vibrations via a sophisticated system of rotating glass discs and light beams. The story behind the score is almost as fantastical. Suddenly,В people from the deep recesses of each astronautвЂ™s memory materialize, flesh-and-blood ghosts that the crew call вЂњguestsвЂќ and that appear to be the planetвЂ™s attempts to communicate. Solaris is a remote planet that human explorers have circled for centuries, hoping in vain to make contact with the evidently sentient but inscrutable ocean that covers its surface. вЂ“Philip SherburneДirector Andrei TarkovskyвЂ™s movie is far less explicit a narrative than its source, the brilliant sci-fi novel by StanisЕ‚aw Lem. The pairing made sense: Just as Plastikman helped popularize the idea of ambient techno, MartinezвЂ™s Drive score introduced the idea of ambient electronic music to a public who might never have otherwise opted to listen to the buzz and burble of minimalist synthesizer recordings. Not long after DriveвЂ™s release, Martinez turned up remixing Plastikman, the most famous alias of the Midwestern techno producer Richie Hawtin. Throbbing metallic pulses play up the filmвЂ™s heart-in-mouth action sequences, while desolate ambient passages mirror its amoral character sketches. Unlike the neon gloss of Kavinsky and the Chromatics, though, MartinezвЂ™s score is darker and more ominous. Cliff MartinezвЂ™s original score is also rooted in the electronic music of the вЂ™70s andВ вЂ™80s its clean-lined synths and cycling arpeggios are part of a lineage running through acts like Kraftwerk, Vangelis, and Tangerine Dream. When director Nicolas Winding Refn was making Drive, he had Kraftwerk on his iPod: There was something about the idea of electronic music, he said, that suited вЂњthe mythology of the gunslinger with a car.вЂќ The songs that found their way to the movieвЂ™s soundtrack bear that out: Slick, вЂ™80s-fueled synth-pop chuggers from Kavinsky and the Chromatics help establish the filmвЂ™s knowing sense of style, cognizant of its antecedents but not the least bit retro. Several pieces of music reappear throughout, a creative editing process that adds to the feeling of a never-ending journey unfolding. The score is rich in dreamy, droning Moog synthesizer, but the choral sounds come from a custom-made, Mellotron-like instrumentВ calledВ a вЂњchoir organ.вЂќ These two machines collide and interlock to create hypnotic and quietly beautiful arrangements thatВ let you to sink into the voyage onscreen. The opening scene, dense with mist and dramatic mountains, is matched in texture by the main theme, which is as immersing and omnipresent as the thick vapor that envelops the landscape. Rather than attempt to bolster the audacious production and narrative with bombastic strings or dramatic arrangements, the score is restrained. Matching the scope and ambition of a film as bold as Werner HerzogвЂ™s Aguirre, Wrath of GodВ was no small task, yetВ the prog-krautrock band Popol VuhвЂ™s score remains as impactful as HerzogвЂ™s images.

Movie ghost soundtrack