18/05/2012 13:20 BST | Updated 18/07/2012 06:12 BST

Soundtracks Will Eat Themselves

I am a mildly obsessive collector of soundtracks. For me they are a place where you can find the unusual, the inventive and obviously the cinematic.

I am a mildly obsessive collector of soundtracks. For me they are a place where you can

find the unusual, the inventive and obviously the cinematic. The best can capture the

atmosphere of a film perfectly, you can't think of Sergio Leone's cowboy films without

Morricone's scores or think of Jaws without those ominous two notes reverberating

though your head.

I like the thought behind them too, they are written for purpose to accentuate the plot.

There is a separation between the composer and the final piece, he or she is not writing

something to express a personal emotion but rather to support the action happening on


Great sources for discovering some of the best are the Finders Keepers record label,

Johnny Trunk's OST radio show on Resonance FM and the blog Toys and Techniques.

On Toys and Techniques I came across a beautiful soundtrack called 'Tomorrow

Come Someday', recorded I guess at some point in the 1970s it is a very British folksy

collection with finger picked acoustic guitars, light Vashti Bunyan esque melodies,

recorders, penny whistles, flutes and the odd sprinkle of early synthesizers. The

interesting fact is that Tomorrow Come Someday was commissioned but never actually

made into a film. Which leaves the soundtrack in the rather strange position of being a

score without the visuals which the music was written for.

Air's recent score for Le Voyage dans la Luna is another strange anomaly in the 'music

for purpose' rule of soundtrack. Le Voyage dans la Luna is a 1902 silent film widely

credited as being the first Sci Fi adventure to be shown at cinemas. Does Air's music

written 100 years after the film was made change the feeling of the film? And now with

rules of time travel broken does this mean that instead of the 'digitally remastered' or

even the 3D re-release we will be getting films released with a newly commissioned

soundtrack. Instead of Harrison Ford having a metaphysical crisis chasing Replicants in

Blade Runner to Vangelis's cold synths, the soundtrack could be replaced with a modern

electronic artist.

Geoff Barrow and Ben Salisbury with their release of 'Drokk: Music Inspired by Mega

City One' have introduced a third concept to the world of soundtracks. 'Drokk' is a score

for a Judge Dredd film that has yet to be made. If the film is made will the cues effect the

plot? This would reverse the original idea of the music written for purpose.

As with all things there are no set rules, but if you like music atmospheric and removed

from the pop sphere I suggest you try a soundtrack.

Dom's Top 5 Soundtracks

1) Ennio Morricone - Giu la Testa

2) John Carpenter (w/ Alan Howarth) - Halloween III: Season of the Witch

3) Vangelis - Blade Runner

4) Lalo Schifrin - Dirty Harry

5) Tomorrow Come Someday - Tomorrow Come Someday