Thomas stresses the timelessness of orchestral instruments relative to electronic tools. But it’s not about learning…It’s about learning that it’s just there.” I thought that myself for a long time, until I had listened to so many kinds of music, that one day I just tried it. “The soul and emotion of is so powerful that to like it is so easy – it’s just people think you need to be educated. Guy-Manuel suggests that there is a baroque quality to much of Daft Punk’s music, and he hopes that the arrangements on Tron: Legacy will encourage their fans to explore classical music. Much of the interview is concerned with Daft Punk’s foregrounding of orchestral, rather than electronic, elements in the score. “This project is by far the most challenging and complex thing we have ever been involved with.” “Coming from our background of making electronic music in a small bedroom, and ending up having our music performed by a 90-piece orchestra, with some of the best musicians in the world…We are lucky to have had the opportunity to experience some powerful moments artistically over the years, but recording this orchestra was a very intense experience.” “This project is by far the most challenging and complex thing we have ever been involved with,” declares Thomas of their Tron: Legacy soundtrack. The duo are cover stars of the new December 2010 issue of Dazed & Confused, wherein they talk extensively to Rod Stanley about their past, present and future undertakings.
#TRON LEGACY SOUNDTRACK HIT MOVIE#
Thomas Bangalter and Guy-Manuel de Homem-Christo’s score is one of the most hyped recording projects of 2010, and will finally see an official release on December 6, 11 days prior to the movie hitting cinemas. Without a doubt, it's a game-changer for Daft Punk.Daft Punk have spoken out for the first time in depth about their work on the soundtrack for Tron: Legacy.
These tracks come as welcome relief from the tension Daft Punk ratchets up on almost every other piece, particularly "Rectifier" and "C.L.U." Encompassing the past, present, and future of sci-fi scores, Tron: Legacy feels like it grew and mutated from its origins the same way the film's world did. It's not until the score's second half that the duo's more typical sound emerges on "Derezzed"'s filter-disco and on "End of the Line," where witty 8-bit sounds evoke '80s video games. However, for most of Tron: Legacy, they're concerned with pushing boundaries. Daft Punk get in a few clever nods to Wendy Carlos' Tron score, from "The Grid"'s blobby analog synth tones to "Adagio for Tron"'s mournful sense of lost wonder. Elsewhere, "Recognizer"'s pulsing horns and synths and "The Son of Flynn"'s arpeggios and strings are so tightly knit that they finish each others' phrases. "The Game Has Changed" may be the most dramatic example: It starts with a wistful wisp of melody that sounds like a ghost in the machine, then swells of strings and brass and buzzsaw electronics submerge but never quite overtake it. Working with the London Orchestra, Bangalter and de Homem-Christo fuse electronic and orchestral motifs seamlessly and strikingly. Tron: Legacy's legitimacy as a score may surprise listeners unaware of Bangalter's fine work on 2003's Irreversible while that score actually hews closer to Daft Punk's sound, it showed his potential for crafting music beyond the duo's usual scope. However, Tron: Legacy takes a much darker, more serious approach than the original film and Daft Punk follows suit, delivering soaring and ominous pieces that sound more like modern classical music than any laser tag-meets-roller disco fantasies fans may have had. When it was announced that the duo would score the sequel to one of sci-fi's most visionary movies, it seemed like the perfect fit: Their sleek, neon-tipped, playful aesthetic springs from their love of late-'70s and early-'80s pop culture artifacts like Tron.
"The Game Has Changed" is the name of one of the tracks on Daft Punk's score to Tron: Legacy, and it also fits Thomas Bangalter and Guy-Manuel de Homem-Christo's music for the film.
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