Soundtracks are vital to movies, as they can provide the biggest scares, get heartbeats racing during action scenes, and cause tears to fall during emotional scenes. There are some soundtracks that have become just as iconic as the movie itself, like John William's work for Star Wars.
But some soundtracks are especially good at creating the ambience of a film, truly capturing its atmosphere and environment. This type of music is most effective at placing an audience within the film, which is vital for people to be invested in the story. So while these scores may not be as iconic as some other soundtracks, they still deserve recognition.
This soundtrack by Toto (which no, does not include "Africa") was the rock band's first and only film score. They were accompanied by the Vienna Symphony Orchestra and the Vienna Volksoper Choir, which helped create futuristic sweeping background music. The soundtrack adds detail to Dune, and is able to switch between majestic and grand, to subdued and calm, which perfectly reflects the epic's large story but intimate characters.
The soundtrack was popular enough that it was released twice, once during the film's release, and an extended version in 1997. Both versions are now out of print on CD but have recently gained increased exposure through streaming services, exposure which is well-deserved.
The Gone Girl soundtrack, composed by Trent Reznor and Atticus Ross, manages to capture the film's calm appearance and violent undertone by mixing soothing massage therapy music with staccato electronic noises. According to USA Today, Fincher was inspired to create this sound after an experience at his chiropractor's, where the music was "inauthentically trying to make him feel alright."
Instruments were altered in order to make a tense, uneven pattern, including a device that when tapped made stuttering beat sounds. Reznor wanted this ambient tension portrayed, as he felt that it reflected the gone girl Amy herself, and by having her brokenness portrayed through music, it creates a great ambience. It's a perfect soundtrack for the tone of the film, as Gone Girl is one of the best modern film noirs.
Sci-fi is a common genre for ambient movie soundtracks, as shown by Andrew Tarkovsky's haunting film Solaris and its early depiction of electronic music. The film's soundtrack album was created by Edward Artemyev and the Electronic Music Experiment Studio Ensemble. As described by Superior Viaduct, the music reflects the intelligent futuristic space setting of the film perfectly by creating variations of Bach's "Chorale Prelude in F-Minor," with Artemyev rafting sine waves on glass plates for a now-extinct ANS synthesiser to interpret.
The music feels formless and otherworldly, emotional and calming, yet also unsettling, just like the film's doppelgängers. Even the instruments used sound like the humming of machinery, creating an environment dominated by technology.
This sci-fi noir masterpiece is accompanied by a soundtrack by Vangelis, and it perfectly captures the chaotic and simultaneously lonely world that the film creates. According to Nemo Studios, Vangelis crafted the score by viewing scenes from the film and then playing to what he felt was portrayed onscreen. He also heavily used synthesizers to produce diegetic and non-diegetic sounds.
The soundtrack can transport the listener to the film's version of 2019, even without the help of the film's visuals. Some parts of the music sound like sirens wailing, and singular notes are often drawn out in almost an echo, making a haunting impression. The score was nominated in 1983 for a Golden Globe for Best Original Score, and Vangelis' work still holds up today.
Composed by Trent Reznor and Atticus Ross, this soundtrack won nine major awards, including an Acadamy Award. The ambience it builds is incredible. Using digital instruments, the music buzzes and beeps, like the ringing of a phone or a notification, which is great for a film about the creation of Facebook.
The soundtrack ultimately feels exciting and optimistic, while also hinting at trouble around the corner, which it does excellently through the use of electric guitar. This perfectly presents the journey that Mark Zuckerberg takes; creating a new website and making a number of enemies along the way. It has the listener feeling as if they are there, building a social network all of their own.
According to Box Office Magazine, the director of the film, Nicholas Winding Refn, wanted the music to be abstract so that viewers would be able to see things from the Driver's perspective. To achieve this he hired composer Cliff Martinez to imitate the style and feel of Johnny Jewel's bands, Chromatics and Glass Candy, and told him to make tracks that sounded very 1980s, with synth music, vintage keyboards, and Europop.
The music is dreamlike, just like Hollywood, which is where the film is based. The score refrains from the use of bass in order to appear generally upbeat, creating an ambience that juxtaposes the film's criminal activity in a way that puts the audience at home in the Driver's world.
When audiences listen to this ambient soundtrack by David Newman, it's hard not to imagine Veronica drearily walking down the corridors of Westerberg High. Even in the film's most action-packed sequences, the music remains somewhat low-key, as if pulling listeners into its cynical worldview. This is emphasised by the film's diegetic song by Don Dixon, aptly titled, "Teenage Suicide (Don't Do It)."
The soundtrack's use of harmonica perfectly captures the criminal goings-on in the film, and the use of synth creates that classic eighties feel. Even the constant clicks throughout each track sound like the Heather's heels walking through school. It's a shame that this type of music wasn't more included in its recent musical adaptation, especially since so many great Heathers quotes were lifted verbatim.
The Pride & Prejudice soundtrack was composed by Dario Marianelli and performed by the English Chamber Orchestra. According to All Music, Marinelli based many of the film's tracks on Beethoven's piano sonatas, which transports the listener to the time of the story's setting, and he also made sure to infuse a romantic feel for the romantic film.
The score is infused with woodwind and string instruments, along with many emotional piano melodies, and this perfectly matches the film's settings of grand ballrooms and sweeping wooded cliffs for Elizabeth Bennet to stand intelligently and wistfully on. If viewers are wishing to engage in the cottage-core aesthetic, then this is the perfect soundtrack for it.
Hans Zimmer never seems to falter, especially when working with Christopher Nolan, and the soundtrack to this sci-fi epic proves just that. The score manages to make this film feel even more gigantic and breathtaking than it already is. The heavy use of the electronic keyboard and pipe organs in particular was praised by critics and audience's alike.
Just like space-traveller Cooper makes his way through a multitude of environments and emotions, the music perfectly captures a similar spatial journey. It is nostalgic, mysterious yet openly vulnerable, and majestic, all at once. The "Do not go gentle into that good night" sequence will likely be captured in the minds of listeners forever, simply due to its musical accompaniment.
The soundtrack of this animated cyberpunk film was composed by Shōji Yamashiro and performed by the collective Geinoh Yamashirogumi. According to Garage, it draws heavily from traditional Indonesian gamelan along with Japanese noh music. While being traditional, it still manages to sound futuristic, combining both the old and the new to create something all of its own. Considering that the film was meant to be set in the future of 2019, which is now our past, the score feels perfect.
This soundtrack not only sets the tone of the film, it has also been incredibly influential. It spawned an album of electronica remixes from Bwana, called Capsules Pride, and samples of the music have also been featured in numerous hip hop tracks.
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