#BEST RECENT MOVIES OUNDTRACKS MOVIE#

The perfect accompaniment to a nightmarish depiction of dulled apathy and sadistic enthusiasm.

Dominated by music written or inspired by composers like Beethoven (specifically his ‘Ninth Symphony’) and Henry Purcell, all played on electronic kit, it’s at once traditional yet born for a time thankfully still to arrive. Taking that into consideration, Carlos’ score is perfect. This is most evident in the language they use - nadsat - which is akin to Shakespearean slang.

While leader Alex (Malcolm McDowell) and his friends have little respect for human life, they have great appreciation for the classics. In 1968, Wendy Carlos unveiled the album ‘Switched-On Bach’ - Johann Sebastian Bach’s music, reproduced with a Moog synth still very much in its infancy - laying foundations for her work on Stanley Kubrick's ultra-violent masterpiece, A Clockwork Orange.īased on Anthony Burgess’ dystopian novel of the same name, the plot centres on a gang of young thugs, or ‘droogs’, in a future city de-sensitised to the delinquency on its streets.

#BEST RECENT MOVIES OUNDTRACKS MOVIE#

Unperturbed, we explored the history of cinema and wound up with 11 landmark electronic music movie soundtracks, arranged in chronological order, each of which earned its place here on sonic merit, and significance in the canon of music and movies. On a more positive note, it quickly became clear trying to choose the best electronic movie scores from the annals of cinema was a huge challenge - there are simply so many great candidates. Meanwhile, just three women have won the same award in its 87 years. Research for this feature revealed myriad revelations, not least the shocking lack of diversity and representation in film soundtracks, particularly those coming out of Hollywood, where it took until 1968 for a Black composer to receive an Oscar Herbie Hancock remains the only person of colour to win Best Original Score. Work that exists across different formats and platforms, creating vivid worlds for fans to become ever-more engrossed in. Elsewhere, film itself is also co-opted by synth musicians for their own ends - to be used within larger multimedia projects.

Names like Oneohtrix Point Never ( Uncut Gems, Good Time), Flying Lotus ( Yasuke), and Photek ( Life In A Year) all offer recent examples. Today, electronic producers aren’t par for the course on film scores, but their input is certainly far more commonplace. As those noises became mainstream, creating pop superstars, their use in cinema grew more visible. Pioneering scores of the ’70s arrived amid a watershed era for sonic development. Widely regarded as the first synth film soundtrack, in the 66 years since the relationship between electronic sound and the big screen has developed almost in parallel with the music itself. When Bebe and Louis Barron presented their music for Forbidden Planet, Fred Wilcox's 1956 adaptation of The Tempest, the sounds were so alien, even compared to other sci-fi films of the time, the brothers were credited with a brand new job: Composers, Electronic Tonalities.

Best recent movies oundtracks