John Avery

Jessica In The Room of Lights (1986) ...

John Avery was bassist with Sheffield group Hula, associated with Cabaret Voltaire, when he recorded this soundtrack for a theatre performance ...

jessica-in-the-room-of-lights

Using dialogue, taped voiceover, soundtrack and choreographed action, Jessica in the Room of Lights explores a blurred storyline about a cinema usherette whose real life becomes mixed with films she’s absorbed at work. Moving from the suburbs to the city, Jessica’s story — a failed romance — is retold in contradictory versions as a form of incomplete memory.

The first performance by Forced Entertainment, Jessica established many of the motifs and strategies that would be present in the work for the next five years — use of taped voice rather than live speech, use of soundtrack, choreography of actions drawn from narrative and an approach to storytelling based on the collision and contradiction of fragments rather than on linear unfolding of events.

John Avery's soundtrack of Jessica in the Room of Lights has been re-released by the aptly named Belgian label Forced Nostalgia.

forcedentertainment.com ...

Mark Shreeve

Assassin (1983) ...

British electronica from Mark Shreeve ... The title track is a cover of a John Carpenter soundtrack, which sets the tone for the whole set ...

Assassin ...

 

Instruments: Roland Juno 60 Polyphonic Synthesiser
Yamaha cs30 Monophonic Synthesiser
Sequential Circuits pro-one Synthesiser
Roland tr. 808 Rhythm Composer
This album was recorded on 8 track equipment using the fallowing ancillary devices:
CE Costum Reverb
CE Costum Tape Synchornisation Unit
"Worz" Costom racks (thanks to Doug)
Korg s.e. 500 stage echo
Flanger and Phaser  (from sleeve notes)


Tyrant ...

John Carpenter original ...
which Carpenter says is based on the riff from this...

Gil Melle

The Andromeda Strain (1971) ...

American jazz musician Gil Melle composed this electronic soundtrack for sci-fi classic movie The Andromeda Strain ...

The Andromeda Strain ... 

'His score for The Andromeda Strain is by turns haunting and gnarly, and it sounds right at home in the 21st century, whether alongside the similarly handmade malevolence of Wolf Eyes or the drugged dronescapes of Tim Hecker. For the film, Mellé built his own electronic studio on the Universal lot and a slew of one-of-a-kind electronic devices. He re-processed the recorded sounds of buzzsaws, bowling alleys, and orchestral instruments for the film, creating a remarkable score that anticipates future electronic music. Mellé captures the sound of booping radar, red light-triggered epileptic seizures, satellite transmissions, weather pattern feedback, scanning microscope whirrs, and mutating super-germs. The ever-pressurizing pulses and oscillations only heighten the film’s biological warfare anxieties and–much like the noisy music itself–such fear continues to riddle us in the present... idolator.com ...

 All records should be polygons ...

 Regardless of the debunked myths of "firsts" that Melle claimed, his soundtrack takes all the elements of primitive electronic music and approaches them in a compositional way, rather than through the more random applications from which most users of Moogs and ARP Odysseys got their sounds at the turn of the decade. For non-organic sounds, Melle makes his cascades of beeps, ticks, swishes, and so on come alive, building in tension and even rhythmic counterpoint. He sets the tone well with each piece, and there's a great flow and logic - and even musicality - to the otherworldly sounds he's able to coax from his homespun collection of cables. Sadly the sountrack itself - which must've taken a long time to create - is super short, clocking in at under 1/3 the length of the actual movie, a brief and disappointing 26 minutes... listofthelost.blogspot.co.uk ...

Louis & Bebe Barron

Forbidden Planet (1956) ...

Louis & Bebe Barron's soundtrack for the classic sci-fi Forbidden Planet, the first totally electronic movie soundtrack and sound effects ...

A Shangri-La In The Desert / Garden With A Cuddly Tiger

 

 

Ancient Krell Music ...

Louis would invent a circuit and put it together. Then we would activate the circuit: it would come to life, and we would amplify it and start to tape it. And it would produce a burst of the most glorious kind of energy and electronic activity.

That would level out a little bit - go on along a plateau. And then, in a moment of glory, it died - the electronic explanation would be that it overloaded in some way. But you could hear it climaxing, and the thing then would just give out, and run down to zero.

We could never get them to start up again after they died - each had a lifespan of its own... Bebe Barron

 

Forbidden Planet documetary featuring the Barrons ... 

 Elementary electronics ...

Jacques Siroul

Midway (1973) ...

Soundtrack library album consisting of Moog and keyboard driven light music...  Very melodic ...

Escupo ... 

Pianist and harmonica player, fascinated by synthesizers, Jacques Siroul was born on June 3, 1952 in Brussels and has composed over 350 works for media, advertising, animation, corporate films and musicals. Today, he focuses mainly on the composition of music on demand. He was one of the first to arouse the attention of artists on the digital wave in the field of music publishing. It is now considered an expert in the field... LastFM.com

Midway ...


Reflets ...

Klaus Schulze

Das große Identifikationsspiel (1973) ...

Hörspiel, or 'radio-play', for German radio by Alfred Behrens, musical soundtrack by Klaus Schulze ...

The 7 Crystal Balls ... 

 

00:00 - Geburt Der Moderne [6.00]
06:00 - Devil May Care [7.21]
13:21 - Les 7 Boules de Cristal [3.17]
16:38 - On a Marché Sur la Lune [7.00]
23:38 - Der Schrecken Vom Amazonas [16.40]
40:18 - Schier Unendlich [1.37]

identifikationsspiel ... 

                              EMS Synthi noodling on Grooveshark ...

Maurice Jarre

Dr Zhivago...

Jean-Michel Jarre's father Maurice was the first to use a (prototype) Moog in his soundtrack for Dr Zhivago, along with samisen, koto, Novachord (the first true polyphonic synth), a sonovox (early vocoder), tack piano, harpsichord, zither and 24 balalaikas of course ...oh, and the full MGM studio orchestra and 40-piece choir.   The Moog was used to add bass to the orchestral sound... This was late 1965 and the Moog modular synth was just invented, and delivered to the studio by truck...

Lara's Theme (original) ...