Tron Legacy Composed by Daft Punk
Walt Disney Records (2010)
Rating:
8/10
Soundclips below from AmazonMP3
“For DAFT PUNK fans
there is enough of the duo's signature style to make this pleasing
listening experience and, while this score may not be a technical
marvel to established industry composers, even long-time listeners
of the genre may find the original score for TRON LEGACY a
worthwhile listen.”
Arcade Punk
Review by Christopher Coleman
TRON LEGACY - the film has been on our minds since the Summer of 2008,
when we were given our first of many teasers. By December 2010,
expectations could hardly be any higher. Fans of the original film, TRON,
from 1982 were joined by those dazzled by the amazing visuals
painstakingly
dispensed to the public over those two years. In 1982, TRON, took
audiences into the inner-world of the computer; one that most folk had
hardly any understanding of. Credit has to be given to the visionary
writers and directors for producing a film that was visually stunning by
the day's standards, but conceptually a bit before it's time. WENDY
CARLOS' original score for TRON was only appreciated, like the film, much
later than in its original release. Now, TRON LEGACY returns to that
world,...but in 2010 it's a different audience with different
expectations.
Accompanying first time director, Joseph Kosinski, are first time
film-score composers, DAFT PUNK. In the world of electronica and dance
music the enigmatic duo reign like mysterious luminaries. Even if you
don't think you've heard their music you probably have if you watch any
amount of TV; as their music ("Musique", "Around the World", "Harder,
Better, Faster, Stronger" and "Technologic") has been utilized in several
major commercial
campaigns. There was little doubt that Kosinski's design and architectural
background would result in a visually stunning film. Similarly, there was
little doubt that DAFT PUNK could bring a decidedly modern, electronic
edge to the film's score. Even with veteran screenwriters Adam Horowitz
and Edward Kitsis (LOST) and the star power of actors Jeff Bridges and
Olivia Wilde on-board, the big question still remained. Would all this
come together to make for a successful film?
Visually, Kosinski delivered a rich experience that, while making
its nod to the original TRON, is unlike anything we've seen on screen
before. Sadly, the writing for the film left some audiences wincing
far too often and hitting "ctrl alt del" in their heads in
futile attempts to "make it stop." So where does
that leave the original score? Does DAFT PUNK succeed in delivering an
effective one despite their lack of experience and inferior script?
Does their music have life outside of the film?
Depending on who you ask those questions to, the answers will
vary...rather widely. DAFT PUNK's pre-existing fanbase seem to, more often
than not, love the resulting score; however, a number of of more
established composers (who can certainly see this career-hindering-trend
easily enough) have been able to find technical faults in DAFT PUNK's
efforts here. But then there are those of us who are somewhere in between.
As a member of that sizeable camp, I'll try to answer those questions
here.
First, DAFT PUNK most definitely delivers an effective score despite their
neophyte status. The duo crafts a strong signature motif which is used
liberally throughout and in numerous adaptations. In it's simplest form,
it's is a heroic fanfare reverberating with echoes of Aaron Copland. Two
of the best performances of the theme are found in the opening and
concluding tracks: "Overture" (1), and "Finale" (22). The former is a big,
symphonic slap in the helmet, which was a delightful surprise given the
tech-nature of the film. "Finale" bookends the soundtrack in an
equally surprising way. It is powerful, yet reflective piece, resting on
the shoulders of the brass section before layer after layer of strings
slowly joins in. To answer the second part of the first question,
unfortunately, DAFT PUNK's original score is not good enough to overcome
the writing (and even acting) deficiencies of the film; as evidenced by
the lack of award nominations TRON LEGACY has garnered in the "Best Score"
department.
There is certainly much more to TRON LEGACY than the poignant opening and
closing tracks. In between, DAFT PUNK definitely stretches its
electronic-legs, putting their distinctive stamp on the score. In so
doing, they answer the second question. Simply put, the music is most
certainly enjoyable outside of the film. In track 2, "The Grid," after
Flynn's brief monologue, we immediately get a Daftpunkian version of the
title theme lead on synths and backed with electronic rhythms and strings.
"The Son of Flynn" (3) delivers an oft repeated idea of ascending synth
notes; giving us the feel of a flow of data itself. "Recognizer" (4) is
built from the foundations laid in "The Grid," becoming another important
motif; one representing the negative forces at work in the world of TRON.
In the track, Low notes on cellos form the backbone as higher strings
layer in. Added later is a healthy dose of electronic instrumentation which
gives us our first, true hyrid track of the release. Expansive brass
blasts (now forever associated with Zimmer's score for Inception) add the
last ingredient to make this a very strong piece. DAFT PUNK use this
compelling instrumentation at the most intense moments of the film and
consequently make up some of the better moments of the soundtrack. Just
have a listen to "Rinzler" (7), "The Game Has Changed" (8), "Fall" (14),
and "C.L.U." (18).
While the duo could have kept this hybrid style for every track, they
don't. Helping to round out the symphonic side of this experience, DAFT
PUNK delivers tracks such as "Outlands" (9) a short but quick tempo piece
where strings pulse and undulate and finally culminate into a full
orchestral burst. This piece is followed by "Adagio for TRON" (10). The
first half of it seems to draw its inspiration from the two most famous
adagios of the 20th century: Barber's "Adagio for Strings" and Remo
Giazotto's "Adagio in G minor (Albinoni)". The second half sees the tempo
quicken and the theme played by full orchestra, but undergirded by DP's
pulsing synths. Drawing inspiration from at least one other classical
piece, "Night on Bald Mountain" by Modest Mussorgsky, we get the
increasingly intense piece "Rectifier" (17). A short-lived effort to be
sure, but much preferred to the electronic butchering that wasn't recently
laid upon Edvard Grieg's "In the Hall of the Mountain King" found in
another popular, 2010 soundtrack.
For longtime fans of DAFT PUNK, there is also a good helping of music to
like and will certainly give them plenty to listen to until the duo's next
audio venture. As we enter into the second half of the soundtrack, we
start to hear DAFT PUNK's unmistakable style take center stage. "End of
Line" (12) and the pre-released "Derezzed" (13) are
quintessential DAFT PUNK tracks, ready-made for the clubs. Beyond these
high energy tracks, DP is able to synthesize pieces like "Solar Sailor (5)
and "Arrival" (19), which pay homage to iconic composers of 80s like
VANGELIS and BASIL POLEDOURIS.
The surprise that exists in giving TRON LEGACY more than an cursory listen
is finding harmony and consistency within the track-to-track-diversity
that exists. Somehow, by exporting and importing a bit of music here
and a byte of instrumentation there, these rookie-composers bring an
overall cohesiveness to a score whose range is a bit wider than we may
have anticipated in the first place. Unfortunately, the glaring
failings of the film look as though they have negatively impacted
impressions of the original score associated with it. A tragedy that
James Newton Howard can certainly identify with this year. Still,
the basic concept of the films remain sound...sound enough to spawn off
talk of an animated series and potential film sequel. Mirroring the basic idea of the film, DAFT PUNK's
music is "the organic living in a synthetic world." And out of this
seemingly impossible combination comes something fresh...something with
life in it. For DAFT PUNK fans there is enough of the duo's
signature style to make this pleasing listening experience and while this
score may not be a technical marvel to established industry composers,
even long-time listeners of the genre may find the original score for TRON
LEGACY a worthwhile listen.
