View of the massive Chetro Ketl Great House (built in 990 CE) from its overlook on the 5-mile North Mesa Trail at Chaco Canyon, San Juan Co, NM. Spectacular views all along the trail. Photo: James C Wilson (June 2023) :: [Robert Scott Horton]
* * * *
“If time could run backward, like a film in reverse, we would see this mess reassemble itself into lush green hills and moss-covered ledges of limestone. The streams would run back up the hills to the springs and the salt would stay glittering in underground rooms.”
― Robin Wall Kimmerer, Braiding Sweetgrass
24 notes
·
View notes
do you have any recommendations for orchestral tracks ?
do i, oh, and what a lovely gift it is to be able to wax poetic about them!
toothless found (john powell, how to train your dragon 2) – there is so other way to begin for me other than starting w/ the httyd series bc i am incredibly biased and enthralled by the way powell weaves story and emotion near-seamlessly into sound, into melody. there are other gems of his within the httyd soundtracks (test drive, romantic flight, etc.) but this one is one that continually cracks something open inside of me. there is emotion, here, palpable.
the dramatic but slow, cautious beginning of it, the chorus mixing in with the strings, the build? the way it crashes like tides, bursts into being? it’s everything, and feels like it too. the way the melody of test drive comes in so seamlessly in at the end, the way music holds emotional tethers throughout not only the film but the series, how music can be so powerful it holds allegorical weight! powell has this fascinating way of stringing melodies from other tracks into others so everything feels connected, everything pieces of a singular whole – and it is so rewarding to listen and be able to pick out the familiarities.
my favourite (aka gives me the utmost serotonin to hear) is this little quad-tone of horns that’s littered through the soundtracks, and it’s around the first quarter mark here, when the horns come in to accompany the strings, and you can feel the change in the story like it is a palpable thing; the glory of it bursts forward like light, unescapable, the layers of it. i think ab these soundtracks and how they hold the story close like it can bear the weight of its every emotion and i go insane.
the battle room (steve jablonsky, ender’s game) – music has a way of being a language for emotions that are not translatable otherwise. and here – you have a story about children drafted for a war and tragedy surrounding everything – and yet there is so much beauty here. there is wonder. the violin melody takes this place meant for battle and says: you can see the stars from here. you can see home, and there is still room for friendship, still room for humanity, even here, in all this empty space.
once there was a hushpuppy (dan romer & benh zeitlin, beasts of the southern wild) – the building of it, the horns and strings and the way it feels like dawn. i saw this move for the very first time in a dimly lit classroom for a movie club so many years ago and i still recall it as one of the first times i heard a score that awoke something so close to starlight inside of me. the way it surrounds you, slow and easy, the light and joy, the glory of it? how everything feels like it’s swaying together in the same wind, how everything comes home together, and the journey of it. it feels like coming home. and those trumpets!!
14.3 billion years (andrew prahlow, outer wilds) – outer wilds was both my game of the year and album of the year back in 2019, and with it an awe that is not dimming anytime soon. to be able to hold the universe in melody, to speak of time and weight unimaginable and put it into song? into something we can so nearly comprehend, full of awe and wonder?
this story, this soundtrack, it feels like something you could have known, once, in a time so different than this. it feels like myth and home and discovery all at once, comforting and incredible. it’s like laying beneath a bright sky full of stars, and knowing that they are all burning with a light bigger and brighter than anything we could ever even dream – and there, beside that wonder, do you hear it, the way the universe calls, here? the way it says hello, old friend. i was waiting for you.
nascence (austin wintory, journey) – there is something within this game that is so specific and so breathtaking i have not been the same since first experiencing it. there’s no active dialogue through the entirety of the time spent playing – only music, only small melodic tones of communication, and there is something to the way this score feels like the story itself, how it is both narrative and heart and motion, all at once. it feels like a story told over firelight, told in flashes of dreams, in the ruins of a city older than any story we have.
the oldest joys, are here, in this. the same with sorrow. they hold onto time like they hold onto the story – endlessly.
scarlemagne’s waltz / we will find them (daniel rojas, kipo and the age of wonderbeasts) – rojas is in a similar boat as to daniel pemberton for me, both being a major part within the music industry that sees beyond traditional instruments within orchestral score. they dream big, and oh does it deliver.
the creativity within both of their works is insane: melodies made mixed with non-musical noise (see the elephant noise in the prowler’s theme within spiderverse) all the way to mashing up orchestral with other genres: hip-hop, rap, rock, opera, etc. (daft punk was also a big piece of this back in 2010 with the tron: legacy score, which still holds up to this day) in it feels like a whole new world opens up, like the electric heart of scores is reaching out further, into new horizons.
i’m including two tracks from the first season because both of them show such a wide range of rojas’ talent – and the last quarter of we will find them haunts me to this day it is so good. the emotional weight of it is inescapable? you reach the end of it and so easily go... one more time?
across the violet sky / never coming back (evan call, violet evergarden) – truly the entirely of call’s work for the evergarden series is an emotional wonderland. there is a favoring for strings and piano, and the way you can feel the light gentleness of wonder and heart in each track is so lovely. there is light in these melodies, embodied, and listening to them makes me feel like some of the weight is taken off my shoulders. they make the light brighter, the wind warmer, everything feels softer in retrospect. they feel like warm wind on a cool night, something that makes you feel just a little bit less alone.
the legend of ashitaka (joe hisaishi, 1996 princess mononoke image album) – the synth in this. the synth. it holds my entire heart. hisaishi is well-known and well-loved for his talent with scoring orchestra, but the way the electronic synth is scored to burst into being before and beneath the strings like something new and incredible is awe-inspiring. it feels like a reimagining of a melody i could hum by heart.
i hope you enjoy them! please let me know if you’d like to hear ab any more. 💕
131 notes
·
View notes