![]() ![]() Needless to say, there’s a lot of electronics too – and the resulting fusion is genuinely exciting. The biggest surprise is the amount of orchestra in the score – a lot. On hearing the score, the decision to hire them seems more than just inspired, it seems to be a moment of genius. Of course I don’t really think it’s a gentleman who’s popular in the charts – the French two-piece became enormously successful in the late 1990s with their brand of house music clearly they inhabited a musical world which would be more than consistent with Tron: Legacy. Then, all of a sudden, the hiring of Daft Punk to score Disney’s long-awaited Tron sequel begins to feel like it may just have been inspired. Very few scores are written which are genuine surprises – whether due to an over-reliance on temp-tracks from directors (who then want the score to sound very similar to whatever has been used as temp) or a lack of creativity on the part of film composers, there are few times today even with the most talented composers where I see a film and recognise that the music composed for it is uniquely for that film and couldn’t be used in any other. In my defence, I would say that if I have become a little predictable, then that’s because film music itself has become (more than) a little predictable. This is about as “un-Southall” as a film score album could get. Apparently he is quite popular in the charts and a specialist with the keyboards. So here we are, Tron: Legacy, written by somebody called Daft Punk. (I have a tendency to force home a fairly unfunny joke so hard that it loses any vague hint of humour.) Some people will have been reading what I’ve written for years and those people have probably got quite good at knowing what I’m likely to say about something. I’ve been reviewing film music albums for quite a long time, now.
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