Stoney Soundtracks and Scores Pt. II – Feat. Skrillex, Chemical Brothers and More!

It looks like you're using an ad blocker. That's cool! We get it :)
You can support us by sharing this story or following us on Facebook.

Back to Top

Stoney Soundtracks and Scores Pt. II – Feat. Skrillex, Chemical Brothers and More!

Here at Stoney we love when Electronic Music branches out into other media platforms; in installation, creative advertising and especially in film! We had a ball doing part one last month and after that was done we threw the feature out to you and a few boss suggestions came back. So without further adieu here’s Stoney Soundtracks Part II – got any more recommendations? Let’s hear ’em! Sound off below…

Risky Business (1983) – Tangerine Dream

In 1983 the 60s Krautrock group Tangerine Dream were definitively tasked with scoring the greatest Rayban commercial of all time, Risky Buisness. Contributing over half the soundtrack to the film that shot Tom Cruise to stardom the electronic group delivered a sound oozing with early 80s cool for this teen sex comedy and over twenty other film scores throughout decade. A quick example of Tangerine Dream’s cult influence today? The latest iteration of the group scored Stoney Roads’ favourite GTA V alongside Woody Jackson, The Alchemist, Oh No & DJ Shadow.

Spring Breakers (2012) – Skrillex, Cliff Martinez & Various Artists

You definitely know that first name and Cliff Martinez popped up in our last edition of Soundtracks and Scores contributing his brand of ambient synth menace to Nicholas Winding Refn’s Drive. In 2012 Sonny Moore AKA Skrillex teamed up with Martinez on the controversial neon-bikini and a.k toting fantasy ride, Spring Breakers. The pair collaborated on new dramatic underscores for the film with the OWSLA leader’s original work serving as the blueprint, producing a musical through line that is “fierce and persistent” (Randall Poster, Music Supervisor) throughout the heavily visual film.

Cliff Martinez Talking to Score! on  working with Skrillex;

I think he came in before me. When I first saw the film, several of his songs were in the picture. Harmony suggested that the two of us write together and collaborate on some dramatic underscores….We had some face time on two occasions, where we talked about how we would share files. We had sketches that we would exchange and we collaborated a lot that way. I also took some of the ideas from the opening of the film, which is “Scary Monsters and Nice Sprites” set to a scene of a Girls-Gone-Wild-type of spring break debauchery. That was the essence of the film, musically that was the blueprint. I took a lot of the ideas and chord changes from that and willed that into some other areas of the film. Skrillex did some separate songs and dramatic cues and so did I and then we did some together. That’s how it became a combo platter. (Score!)

Anyone wanting some of that spring-break beach debauchery can catch a taste at this year’s Shore Thing on Bondi Beach (don’t forget your pink balaclavas ladies!)

Hanna (2011) – The Chemical Brothers

From Spring Break fantasies to girl assassin in the woods fairytales we land on Joe Wright’s Lynchian 2011 actioner, Hanna. The director, excited by the possibilities of blurring the division between music and sound design in film sought a different musical avenue than the classic orchestral score instead he enlisted the luminary Chemical Brothers for the job.

A strong collaborative development between the director, sound design team and the electronic duo the scoring process was a running dialogue throughout the production. The director knowing the Chemical brothers since 1992, after attending a rave above a shoe shop the boys have been friends since.

Tom Rowlands talking to the Wall Street Journal about the process ;

People have an idea of our music as the driving, beat-driven stuff you refer to. But our albums move around. At one minute you’ll be listening to apocalyptic, 3 a.m. acid meltdown music, then that will move into some beautiful pastoral melodic music. At least in our minds it does. l love the soft moments of “Hanna.” It was fun to be able to do that. The more driving, dynamic pieces were almost more difficult to do, because we had to really up the feeling. Joe kept asking for more, more. I think he was trying to recreate the experience of hearing us in some crazy club somewhere, to have that feeling of when you’re listening to the music at 120 decibels with 5,000 other people going nuts around you.

Source: Score! Walstreet Journal, Badass digest

Comments

Related Posts