Electronic music can at times be repetitive, and it’s impressive that during this particular soundtrack inspired ideas are given their chance to shine, without going on for an elongated duration.Īlthough the blending of orchestral and electronic could be a novelty, it works extremely well throughout the soundtrack.
There is no temptation to skip a single track, even if some of them begin to sound a little similar. In many respects, the shortness of the songs is the Legacy soundtracks greatest asset none of these songs out-stay their welcome. Things become more akin to what Daft Punk listeners may be expecting with “The Son of Flynn,” which at less than two minutes long continues the barrage of cyborg electronics.
Flowing perfectly into “The Grid,” complete with an electronic pulse that gathers momentum behind a gruff voice-over, keeps the high-points coming. The orchestration is top-notch, mastered beautifully to make each instrument resonate.
Tron legacy soundtrack list series#
“Overture” sets the scene starting the soundtrack slowly with a remorseful and sombre tone, before bursting to life with a series of strings that elevate this music to the wondrous heights that it aspires to.
These are short electronic interludes, for the most part, that create a deep mood of tension. The Tron: Legacy OST perfectly captures the mood of the film, although it would still be an enjoyable listen without the cinematic context. The merits of this album must be judged on how well it embodies the subject matter at hand in this case, the world of Tron. Instead, it should be viewed as a stand-alone soundtrack to a computerised world. Without a doubt, it's a game-changer for Daft Punk.Let’s not pay too much attention to the fact that Daft Punk are the artists that have crafted this beautiful blend of electronic and orchestral symphony this isn’t the sort of album that should be compared to Daft Punk’s discography purely because they are involved in the composition. These tracks come as welcome relief from the tension Daft Punk ratchets up on almost every other piece, particularly "Rectifier" and "C.L.U." Encompassing the past, present, and future of sci-fi scores, Tron: Legacy feels like it grew and mutated from its origins the same way the film's world did. It's not until the score's second half that the duo's more typical sound emerges on "Derezzed"'s filter-disco and on "End of the Line," where witty 8-bit sounds evoke '80s video games. However, for most of Tron: Legacy, they're concerned with pushing boundaries. Daft Punk get in a few clever nods to Wendy Carlos' Tron score, from "The Grid"'s blobby analog synth tones to "Adagio for Tron"'s mournful sense of lost wonder. Elsewhere, "Recognizer"'s pulsing horns and synths and "The Son of Flynn"'s arpeggios and strings are so tightly knit that they finish each others' phrases.
"The Game Has Changed" may be the most dramatic example: It starts with a wistful wisp of melody that sounds like a ghost in the machine, then swells of strings and brass and buzzsaw electronics submerge but never quite overtake it. Working with the London Orchestra, Bangalter and de Homem-Christo fuse electronic and orchestral motifs seamlessly and strikingly. Tron: Legacy's legitimacy as a score may surprise listeners unaware of Bangalter's fine work on 2003's Irreversible while that score actually hews closer to Daft Punk's sound, it showed his potential for crafting music beyond the duo's usual scope. However, Tron: Legacy takes a much darker, more serious approach than the original film and Daft Punk follows suit, delivering soaring and ominous pieces that sound more like modern classical music than any laser tag-meets-roller disco fantasies fans may have had. When it was announced that the duo would score the sequel to one of sci-fi's most visionary movies, it seemed like the perfect fit: Their sleek, neon-tipped, playful aesthetic springs from their love of late-'70s and early-'80s pop culture artifacts like Tron. "The Game Has Changed" is the name of one of the tracks on Daft Punk's score to Tron: Legacy, and it also fits Thomas Bangalter and Guy-Manuel de Homem-Christo's music for the film.