Tag Archives: soundtrack

Game On

For a lot of colleges and universities, the fall semester is coming to a close.  Student term papers are almost due, and for their professors, the real work of winter writing projects begins on the other side of just one more grading marathon.

You’ve done the research and collected the data.  The terms are defined, and the points are in order.  The office is uncluttered, the desktop cleared, and the coffee’s brewed and poured.  Now close the door and don the headphones because at last it’s just you, the blinking cursor, and some sweet music to write to.

Daft Punk, “End of Line” [Buy the soundtrack to Tron Legacy]

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Of Soundtracks and Pittsburgh Musicians, and Pittsburgh Musicians and Soundtracks

As the overly-long title might suggest (if it weren’t so confusing), this post is really two things. Firstly, it functions as a minor plug for a minor film in which I played a minor role this past spring. Born of a challenge posed amongst filmmakers on Twitter to make a feature-length movie in just two weeks, Blanc de Blanc is Pittsburgh’s entry into #2wkfilm, churned out by my friend Lucas McNelly—whose previous film, Gravida, finished a narrow second (to a short starring The Office‘s Rainn Wilson) in the inaugural Now! Film Festival, presented by MySpace. It is also the thing that caused me—hurried as the shooting schedule was—to leave a visiting David Goldfarb alone in my apartment to fend (nap) for himself on a Saturday afternoon, after a hearty breakfast at the Obamas’ favorite Pittsburgh haunt, Pamela’s.

Anyway, the soundtrack to Blanc de Blanc was supplied by a guy named Jerome Wincek who, I’m told, lives way out in Oil City, PA (look it up) and crafts his songs around such things as the sounds of doors slamming and his young daughter banging on pots and pans. (After all, what else is there to inspire in Oil City?) The track I’ve posted here is, in my opinion, the standout within the context of film, but it also noticeably bucks the theme of primarily-instrumental electronic music built around loops of found and ambient sounds, of which the majority of the soundtrack is comprised. Where most of the music pulls a Mike Doughty1-sort of aesthetic (when there’s lyrics at all) into the worlds of glitch and video game music, this track features a distinct Jeff Magnum influence tugging right back.

Jerome Wincek & the Old Hats, “Awake with the Sun”

Secondly, this post is a bit of a prelude (a “teaser,” the kids now say) to the “Where You’re From” post I’ve been planning for some time that should also end up being Noise Narcs’ first exclusive: a leak of tracks from the upcoming album from my friends in Signal to the Ocean Estate. If you recall, Signal’s debut, Tunes for the Bird of Chittenden, was one of my top ten albums of 2009. When making that album, they secured, via a fingers-crossed email to David Lynch’s personal assistant, approval to include on it (royalty-free) this take on Lynch’s composition “In Heaven” from Eraserhead. (Also, this sort of extends the bizarre parallels between some of Chris’s posts and mine.)

Signal to the Ocean Estate, “In Heaven”

And just for fun, I also decided to share the following track (also from Signal’s debut), which—within the spectrum of political songs—fits nicely between “Back in the USSR” and “Fight for Your Right (To Party!).” Most of you will hate it, but I love it.

Signal to the Ocean Estate, “Tribute to the Capital” (sic?)

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1 The man behind Soul Coughing; not to be confused with “Surgical Mike” Dougherty, the man behind Dramatic Oil Company’s inoperable funkiness.

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"It was definitely murder – but was it art?"*

Melty FaceLike the Hoff, Konstantin Gropper is apparently pretty big in Germany.  His music project, Get Well Soon, has just released its second album, Vexations.  It’s a painstakingly-produced concept album (something about finding a corpse in the woods?) that starts out promising enough but then takes a rather unfortunate turn for the pretentious and boring.

Here’s a track that’s not awful:

Get Well Soon – Seneca’s Silence

You might like it; I’m just not going to sell it.

However, on the bonus disc of extraneous songs released with the album, I found this sweet remake of “I’m Deranged,” a David Bowie tune produced with Brian Eno for Bowie’s own concept album, Outside (1995).  You might know it as the song that plays during the opening and closing credits of Lynch’s Lost Highway.

It’s a pretty great song done with synthesizers in 4/4 time, but I really like it transformed into a waltz:

Get Well Soon – I’m Deranged

*The title refers to the short story Bowie wrote that provided the concept for Outside, “The Diary Of Nathan Adler” (.pdf, 5 pages).

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