There is little music right at the moment that I think is as good as Bernard Herrmann’s score to Taxi Driver. Two sections in particular: the “Main Title” and “Getting Into Shape” themes.
OH MAN and that sax line. WTF.
He’s TOTALLY dramatic and sorta “neo-romantic”, which are things you’d want in a film - but sometimes he’s WAY TOO INTENSE compared to most “film composers”, and MAYBE too musical even? Kind of like when Mr. P. Glass scores a movie and e’rybody’s all like WHOA slow down bro. It’s almost like some of his music should be for ballet - i.e. half the point of the performance… But nah, it might just be our vibe about BACKGROUND MUSIC. We put music “in the background” of images and say that the music “supports the image”. Do I like the Taxi Driver music so much because I like the movie so much? What does this music sound like without a visual context? I’ll never know. Do we ruin music by doing the laundry or dishes at the same time? Reading THE INTERNET and paying it no attention? Or do we thrive on that vibe - we give the dishes and the internet a soundtrack that suits our mind vibe at any given moment. I kind of know the latter is true for most people… I get most music listening done when I happen to be in a car.
Check out this vibe from De Palma’s “Obsession”:
That’s that intense thing I’m talking about. I’ve never seen Obsession but it looks amazing. This music is about to explode through these images (which are no less intense!) but I can imagine a truly boring piece of music sort of accomplishing the same goal… This idea depresses me.
“Sisters” I’ve seen before. It’s wild. The music is wilder. Can you imagine if this was the theme for like, “Seinfeld”? What kind of insane darkness would you read into the comedy of that show if it did? Let’s remove the laugh track too! ART.
The other Hermann (one R), Hermann Nitsch… You ever heard his music? Incredible. Likewise though, it’s hard to separate his music from his visuals. In a way I think he’s more known for his paintings and performance “orgies”. Do a INTERWEB search if you wanna… I wish I could separate it sometimes actually, in his case. It’s hard to always want to soundtrack the banal rituals of the everyday with some music that has a context of paint and blood and wine being poured over people and canvases and animal carcasses being pulled apart…
SO, if the search musically (or lyrically even) is for intensity - how do you find it and make it “suitable” or “socially acceptable” even, if you’re (in the end) soundtracking the washing of the dishes? Or a “night out on the town”?
I saw Swans a few weeks ago and it was really the best concert I’ve seen in years. They turned the air conditioning off so the venue was like a gross human sauna. Loudest show I’ve been to (where it sounded GOOD) in a very long time. They gave no easy ways in, every song was extended and each with an intro that took the time it needed. The whole show was a feat of strength without resorting to faux “feats of strength” style entertainment. I have to admit I feel like I think too much to pull a set like that off. They played for 2 hours, pouring sweat.
This was my favorite track of the night. 25 minutes. How do they pull it off? Is it because they have the right look for their particular music? You believe the image, and it gives you the right context? Are their lyrics dark enough that they suit the music (or vice versa)?
Remember when you heard music first, then found out what the band looked like later? Now it feels like the opposite. Is it just impossible to put together something that is stylistically in conflict?
Another mind vomit daydream. With love and apathy,
-Matt
