Wednesday, June 8, 2011

The Chemical Brothers - Hannah Soundtrack: electronics in the movies ... again

We are again faced with a soundtrack created by artists outside the genre, something that is repeated a lot lately. We have seen Daft Punk or Trent Reznor, and as has been warning for some time, so we were going to do with The Chemical Brothers and Hannah movie. Without having seen the movie yet, apart from judging this album purely musical perspective, without linking to any image except that I can imagine trailers and promotional pieces, so I know the film is a story that is similar to the Jason Bourne but adolescent female protagonist (Saoirse Ronan, known for The Lovely Bones or path to freedom, plays Hannah, who has 16 years of history.) Having given a good review of the 20 songs included on this soundtrack, I must make clear to those who have not heard yet, that should put aside the preconceptions they had on an album of the Chemical Brothers.

As was the case with the latest signed by Daft Punk, Soundtrack Tron, this is a companion to a film, the score, and the canons that govern this type of music are different. Anyone near Hannah waiting for a collection of tracks from the Chemical to use, it is not going to find. It is true that the sound is undeniably Chemical.

This soundtrack is the hallmark of Tom Rowlands and Ed Simons and that is welcome. Is probably what most separates the recent work of Daft Punk, Chemical Brothers seem to have enjoyed the freedom to compose all of which lacked the French, and although the work of those ultimately prove good enough in that respect is outweighed by the British duo.

But The Chemical Brothers meets the difficulty that many, a soundtrack can hit them fully electronic, problem that may not find Daft Punk, thanks to the Disney experience and involvement in the development of music Tron. Comparisons are odious, but as we said, in recent months has not been the only case, since, on the other hand we also have something very similar to Trent Reznor alongside Atticus Ross and Social Network.

Two other musical disciplines which have moved away radically from the process of creation that is a soundtrack, but have handled it to perfection and the result has been excellent. In addition, Reznor and Ross also enjoyed the freedom that seem to enjoy Hannah Chemical, and the result is another personal record like theirs.

But going on, what to expect musically from the soundtrack of Hannah? Now you can imagine that, being the type of music that is at least two or three main themes that are repeated in different variations. The vocals are almost non-existent and are almost relegated to the central theme, 'Hannah's Theme', dedicated, as its name suggests, the main character.

Nor expect a large letter. We're talking about, rather of a soft and melodious humming if you have something more substance in the final track of the score, with background chorus and female voice as primary. Perhaps the most striking theme is 'The Devil Is In The Details' and its variations.

Bells for a child-inspired theme as I am too me cakes and repeated too much for what I want. At least in the version 'The Devil Is In The Beats' greatly improves thanks to a successful use of electronic databases. My favorite among the vast tracklist probably 'Escape 700' and its variation 'Quayeside Synthesis', 'Escape Wavefold' or 'Container Park' as they are having a genuinely sound "chemical." In the beats are strong, their bases are made from deep bass, and distorted guitar riffs and synthetic are the mark of the house to which we are accustomed to the duo.

May well have worked in any of the Rowlands and Simons albums to date or one about to debut. As I say, I have not seen the movie, but I can imagine through progress and trailers, I think the darkness must be the order of the day in the mind of someone who has been trained to kill, and I think That is also reflected in gloomy or dramatic themes as "Interrogation / Lonesome Subway / Grimm's House ',' Marissa Flashback 'or' Hannah vs Marissa." Being with a soundtrack composed by 20 tracks, mostly not very extensive, is that they are one of the most varied of the duo.

On the one hand have to accompany the images, and secondly the fact that we are changing almost every minute track, this work makes a real roller coaster as soon as we are swimming in light and fast beats as we descend to the valleys deepest dark and quiet, and that makes a bit of listening to this album as a whole, paying attention to subject matter, although not a defect that should be attributed to their authors, but the genre they are working.

And a little more remains to add. Back to clarify that there are no tracks to dance, or for major festivals. Music should play its role if the joined frames, but here there is a good dose of great music as long as we clear its mission. I do not think you see yourself listening to this in the car for example, because the time is what it is, and if there are any issues that would work perfectly out of the tracklist, more work needed vocal and best companies in this list to function as a true album artist.

As was the case with the soundtrack to Tron, this disc aficionados will enjoy especially the soundtracks, they know enjoy a continuous score without associating it with images, although the target audience is smaller Soundtrack Hannah precisely because of its marked character electronic and non-symphonic, as with Tron or happen to work for Hans Zimmer and John Barry to give an example.

Even missing a punchy track to open or close the disc, as was the 'Extreme Ways' by Moby in the Bourne saga, and that if the chemicals could have been right. So does this disc only if you are in one case: you love the soundtracks, film fans and hardcore collectors of the Chemical Brothers.

Others, though you you would be losing a great job, you can abstain, because chances are that your copy of the finished disc on the shelf collecting dust, or lost among the millions of bytes of your hard drives.

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