FSM # 17: The Musical Poetry of Urban Soundscapes
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Herrmann’s TAXI DRIVER, Elliot Goldenthal’s HEAT, maybe Vangelis’ BLADE RUNNER…..what are some other scores that conjure up the beauty and majesty and maybe moral corruption of cityscapes?
I’m not necessarily thinking about jazz stuff for urban 70’s cop thrillers and such; more the steamy, throbbing, busy atmosphere. Imagine a sunset over skyscrapers and how you would score that.
(I should add that I wrote an article on this very topic in 2012 – probably why I did that thread in the first place – which was later republished on this site in 2021. Here’s a Google-translated version of that article, for anyone interested).
Probably Hans Zimmer’s “Black Rain” falls into that category. And Joe Hisaishi’s “Brother” as well as Terrence Blanchard’s “25th Hour”.
Elliot Goldenthal HEAT
James Newton Howard COLLATERAL
Ennio Morricone UN UOMO DA RISPETTARE
Jerry Goldsmith SHAMUS
Hans Zimmer BLACK RAINOne that is often overlooked (but which I mentioned in the article) is THE SAINT OF FORT WASHINGTON. Connotes urban loneliness so well. The opening of GRAND CANYON is another. And of course COLLATERAL too, that Nick mentioned. In fact, JNH is somewhat of an expert in this sound.
Also mentioned in the article is another Goldenthal score – GOLDEN GATE. Blissful, moody, ethereal, sexy.
CHINATOWN is one of my all time favorite movies and scores, so I really did not forget about it. However, for me (others may differ) it didn’t align with Thor’s request for “Urban Soundscapes” “steamy, throbbing” or “busy atmosphere”, “skyscrapers”… instead, CHINATOWN the music conjures up images of the Western desert, orange groves, dust, a sparse, dry sound for the (then) more spread out desert community Los Angeles that borders at the ocean, far removed from the urban density of New York or Chicago or Boston (or later L.A.). So while I love CHINATOWN (both score and film), and I certainly did not forget about it, it just did not fit with what Thor was asking for.
CHINATOWN is one of my all time favorite movies and scores, so I really did not forget about it. However, for me (others may differ) it didn’t align with Thor’s request for “Urban Soundscapes” “steamy, throbbing” or “busy atmosphere”, “skyscrapers”… instead, CHINATOWN the music conjures up images of the Western desert, orange groves, dust, a sparse, dry sound for the (then) more spread out desert community Los Angeles that borders at the ocean, far removed from the urban density of New York or Chicago or Boston (or later L.A.). So while I love CHINATOWN (both score and film), and I certainly did not forget about it, it just did not fit with what Thor was asking for.
I think you are right. I was also hesitant to mention it because of what you wrote, Nick. But somehow it falls for me into the category “urban sound”, which is not exactly what Thor was asking for.
A solo trumpet or sax usually gets the trick done.
Bill Conti’s BLOOD IN BLOOD OUT has some good stuff. Sadly not released commercially, and the track I own on a bootleg that would fit in here, “East Los Angeles”, I couldn’t find on YouTube.
Another example is Christian Verbeek’s recent score for THREE DAYS OF FISH:
Sometimes helicopters fly over the cityscapes, allowing for great, sweepingly poetic music. One example is in Cliff Martinez’ TRAFFIC:
But an even better example — perhaps the best helicopter-flying-over-city cue ever – is Tim Truman’s gorgeous track from MIAMI VICE:
OK, enough for now. I don’t want these threads to get TOO YouTube-heavy.
Bill Conti’s BLOOD IN BLOOD OUT has some good stuff.
Good Conti, I know that one as well.
Christian Verbeek’s recent score for THREE DAYS OF FISH:
Nice track indeed, sounds like an end title or epilogue track actually.
OK, enough for now. I don’t want these threads to get TOO YouTube-heavy.
We actually have a plugin active that should help caching the preview images locally so the page is not loading too slow because all videso are instantly loaded and for privacy reasons.
We actually have a plugin active that should help caching the preview images locally so the page is not loading too slow because all videso are instantly loaded and for privacy reasons.
That’s good to know. But I will always prefer words over videos anyway. But once in a while for illustration, it’s okay.
I seeem to remember that the Helicopter cue by Truman is used over the water and some rural landscapes…..
That’s good to know. But I will always prefer words over videos anyway. But once in a while for illustration, it’s okay.
Words are great but since we’re talking about music it’s great to directly sample. Of course on desktop the video appear rather huge due to the width adjusting but that is not really avoidable. I could theoretichally hook into the styles to fake resize them to look less wide.
I could theoretichally hook into the styles to fake resize them to look less wide.
Actually I think I probably could via a setting by the the plugin I mentioned, too.
Btw, maybe obvious but just to note: You can also hinder the site to embed a video directly if you link it via text instead using the toolbar LINK button.
I seeem to remember that the Helicopter cue by Truman is used over the water and some rural landscapes…..
Ah, OK. But I still get massive urban vibes from the track itself. Miami skylines, if such things exist.
I was really impressed by what Daniel Pemberton wrote for the noir-ish MOTHERLESS BROOKLYN in 2019 – a lot of jazzy, sweltering city soundscapes that no doubt pointed to the legacy of TAXI DRIVER and CHINATOWN.
It doesn’t get more moody and urban and almost mythological than Graeme Revell’s brilliant scores for the first two THE CROW films. Decay, lust, mysterious undercurrents, it uses the trumpet (appropriately) above tribal rhythms and tragic chord structures. So beautiful.
Zimmer’s BLACK RAIN – the first time he properly enunciates the power anthem style – is also a brilliant display of poetic urban landscapes, capturing Tokyo and the scope of it all. Like in the central cue “Nick and Masa”.
I would think that the David Blume side of the Taxi Driver album would be closer to what Thor is seeking than the Herrmann side.
James Newton Howard’s Glengarry Glenn Ross would fit the bill. As I think about it, a few of JNH’s 90s corporate thriller scores might fit, but I can’t remember the titles now.
The recent examples here made me think of this early Eurythmics song which was actually used in 9 1/2 WEEKS.
I would think that the David Blume side of the Taxi Driver album would be closer to what Thor is seeking than the Herrmann side.
What was Blume’s contribution, exactly?
To the score nothing I think but he re-recorded more pleasant jazz versions for the original album. Like this one:
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