Drive (Original Motion Picture Soundtrack) – Cliff Martinez

Album artwork for Drive (Original Motion Picture Soundtrack)

Today’s post is a groundbreaker for Audio Intimacy.  The original score written for the 2011 film Drive, directed by Nicolas Winding Refn and starring Ryan Gosling, has officially become the first soundtrack album to be featured on the site.  This summer, I am in Los Angeles interning with a composer for films and TV shows, so it seems only fitting that I expand the blog to include this particular brand of musical expression.  Now that the floodgates have been opened, be on the lookout for more soundtracks to follow this one! With that said, let’s move on to the main event.  The score for this movie was written by Cliff Martinez, former drummer of the Red Hot Chili Peppers and current film composer who’s been tearing up the scene for several years now.  What makes Drive unique is the sole use of electronic music in the soundtrack, capitalizing on the strengths for which Martinez has been gaining widespread influence throughout the film industry.

Film music has certainly come a long way since its formative years in the early 20th century, when cinemas would employ in-house pianists, organists, or even orchestras to play live music overtop the mechanical noise of the projector.  It has evolved into a formidable job that fuses together evocative composition, collaboration with the movie’s production crew, and the highly refined skills of syncing audio cues to picture – choosing the exact frame at which to start and stop the music.  Nowadays, just like in any other professional industry, we have developed technology to assist us in accomplishing such a massive undertaking. Electronic music, being a reflection of human society’s adaptation to the digital revolution, has inevitably started to blend with traditional approaches to film scoring, and it is the work of visionaries like Cliff Martinez that has paved the way towards this new period of musical innovation.

Magnetic – Terence Blanchard (2013)

Album artwork for Magnetic

Since his days as the musical director of the 1980s-era of Art Blakey’s Jazz Messengers, Terence Blanchard has been a leading figure in the modern jazz movement.  I’m sure that many of us are well-acquainted with much of his work throughout the three decades.  In recent years, he has been keeping himself remarkably busy with a constant slew of original film and TV scores, including the 2012 picture “Red Tails,” which was executively produced by George Lucas.  Now, Blanchard returns to the renowned Blue Note Records with his latest studio album, Magnetic.

The aggregation of over 50 soundtrack credits as composer as left a clearly discernible mark on the musical sensibilities of this esteemed trumpeter.  Although Magnetic has distinct roots in the jazz tradition that he has become known for, it does not hesitate to travel through whole new realms of sound that had not previously been explored.  These voyages are by no means an unwelcome change, however.  They instead add a keen edge of heterogeneity that elevates the album towards a much greater plane of musical excellence.

Act III: Life and Death – The Dear Hunter (2009)

Album artwork for Act III: Life and Death

What is the music composer or songwriter, if not a storyteller? That has been the transcendent role of the musician throughout the many ages of human history.  From the first note that is struck, plucked, bowed, blown, or whatever else, we (typically) allow the performer to take over our attention until his story has finished.  While this is true for just about any kind of music, some artists have perfected the art of storytelling in a way that not only warrants our attention, but enables us to temporarily let go of everything else plaguing our mind while we surrender ourselves to its enthrallment.  Today we take a look at The Dear Hunter, one such group that has achieved mastery in this field.  The Dear Hunter originally began as a side project of Casey Crescenzo, who was a lead vocalist and guitarist for the post-hardcore band The Receiving End of Sirens at the time.  After writing the original demos for the first album to be released under this new name, Crescenzo elected to take leave of his old band in the interest of devoting his full attention to pushing The Dear Hunter forward.

This first EP, which was released in September 2006, came to be known as Act I: The Lake South, The River North.  This was the opening volume of a planned six-act story written by Crescenzo.  To quote his own words, “The Dear Hunter is the story of a boy, from his creation to his untimely end; the beautifully rapturous to the truly tragic.  Set at the dawn of the 20th century, the debut EP gives birth to a story, and attempts to make sense of the future by explaining.  Simply put, The Dear Hunter sings of things to which we can all relate: lust, deceit, greed, and hunting.”  I will not go too much into the depths of the intricately-crafted world of the story (that is something that you must do for yourself), but I can assure you that it is the kind of world that transcends time and exists completely in the surrealism of your own consciousness.

In Time – Intervals (2012)

Album artwork for In Time

I’d have to say that some of my favorite musical experiences are when I get to connect with a brand new artist for the first time.  There’s always something indescribable about the feeling – you have the opportunity to glimpse inside the creative soul of a wholly unique human being whom you’ve never previously met.  I believe that when approaching any artistic work, it is essential to understand that there is an irrefutable truth behind it.  Put in other words, music is an undiluted form of communication between humans, conveying the accumulation of an artist’s entire life’s journey.  Every influence and moment of inspiration – whether it be musical, philosophical, existential – is a molecule in the genetic code that makes up their art.  Music is not just a product of one’s consciousness; it is equally representative of the darker mysteries of the subconscious mind.  We, as artists, are channeling the terrifyingly enigmatic power of nature through our music.  We are the filters through which the energy of the universe is manifested into artistic creation.

Alright, time to tone down the existentialism.  The inspiration for such philosophical musings is my recent discovery of a wonderfully exceptional band known as Intervals.  I’m going to tell you my favorite thing about them right here in the first paragraph: they have a remarkable talent for fusing heavy, high octane instrumentation with colorful, jazz-inspired harmony.  With the release of their latest EP, In Time, the group builds off of their established djent metal sound by incorporating elements of jazz, melodic progressive rock, and electronica.  The result is an intensely focused and highly refined musical product that captivates the listener from beginning to end.

Lux – Brian Eno (2012)

Album artwork for Lux

Today’s post focuses on a style of music that is drastically different from anything else featured here on Audio Intimacy.  Today, we’re talking about Brian Eno.  There’s a good chance you may have heard the name before.  After all, he does happen to be one of the main proponents and principal innovators of experimental electronic music production.  There is, quite literally, too much to say about the man to cover it all in a post here.  When Eno first came onto the scene in the early ’70s, the music industry was undergoing an intense period of transition (isn’t it always, though?).  More specifically, it was going through something of a technological Renaissance as multitrack recording became more and more expansive. Music recordings became subject to a continuously increasing amount of manipulation and editing.  This set the stage for Eno to find inspiration in his innovative philosophy of “The Studio As a Compositional Tool.”

The main premise behind this philosophy is that the art of recording music is just that – an art. It is no longer simply a means of transmitting a single performance as accurately as possible. With the development of multitrack recording, producers to have the incredible ability to manipulate everything from the arrangement of the song to the individual timbres of the instruments.  They can put an echo effect on the entire song, or just on the guitar track for two seconds on the bridge.  This affects composition on both the macro level and the micro level.  The infinite amount of unique combinations of sound that were made possible by this new approach is too awe-inspiring for words, yet it is something that we take for granted in the 21st century.

Introducing Thrills (And The Chase) – Thrills & The Chase (2012)

Album artwork for Introducing Thrills (And The Chase)

Let it not be said that rock & roll is dead.  The current generation of youth may have transferred much of their rebellious energy to be channeled through electronic dance music instead, but by no means does that warrant the abandonment of such an integral part of modern culture.  After all, rock & roll was the first genre that rocketed the electric guitar into the mainstream world.  It was the genre that gave us our first taste of the true power of modern musical instrument technology.  The second half of the 20th century in popular music was without a doubt a golden age in music history.  That being said, there has been an unfortunate decline in the amount of classic rock music that continues to be produced today.  It’s understandable – the music industry is in a constant state of transition – but the truth will always remain: there is simply no substitute for some good ol’ rock & roll.

It’s in times like these, however, that the true believers in the genre shine through.  Today, I have the pleasure of presenting to you Thrills & The Chase, a four-piece band from São Paulo, Brazil.  Back in March of 2012, they released their debut EP, entitled Introducing Thrills (And The Chase).  Having gained a following in their home nation, they have begun expanding their musical mission across the globe.  Now, as a self-appointed representative of the aforementioned globe, I would like to personally thank Thrills & The Chase for doing so.  To put it bluntly, this is music that deserves to be heard.  This is rock & roll at its finest; music that is unique and draws inspiration from many different influences, yet somehow still presents itself with an air of nostalgia and familiarity.

Nostalgiarithm – PrototypeRaptor (2013)

Album artwork for Nostalgiarithm

Electronic music has come a long way since it’s humble beginnings in the early 20th century.  It began with a desire to use the evolving technology of the time period to create increasingly innovative sounds.  This new kind of music, known as musique concrète, was approached mostly as a sandbox for experimentation, rather than as a tool for augmenting popular music.  It wasn’t until the late ’60s and early ’70s that electronic music itself began to be popularized.  The Moog synthesizer was featured prominently in bands like Pink Floyd, Yes, and Genesis.  New Wave and synthpop music began to rise in the commercial market.  In the club scene, disco music became hugely popular, followed by techno and house music.

Why is any of this important?  Because by understanding the history, we can see the remarkable journey that electronic music has undertaken since its genesis almost a century ago.  In the past few years, modern rave culture has exploded and the scene is stronger than ever.  As a result, its influence has begun to permeate throughout many other musical genres. Not only is there house, trance, and dubstep, but also styles like electro swing, chiptunes, and even folktronica (what?).