In the Mood for Music

Working from home can allow you to tune in a bit more and discover/rediscover new/old tunes. Whilst in the office, we weren't discouraged from listening to our own music to work by, but having to be tuned into those around you made it frustrating to have your earphones in, not to mention it was a bit rude. With a lack of atmosphere and hubbub at home though (aside from the neighbours' barking doggies, the neighbours barking themselves, running car engines, the sweet, sweet sounds of angle grinders, RAF planes overhead and that annoying bird I keep hearing), a background soundtrack through the working day is quite a tonic.

I would listen to a lot of podcasts, but the chatter and conversation would get lost as I was trying to Scooby Doo away those pesky fraudsters, so I now tend to save those for public transport journeys and painting sessions.

Music is a huge love of mine, curiously though, as much as I love it, I am woefully musically untalented. Among the genres, since I have an eclectic taste, my daily choices can range from: jazz; metal; 90s/00s pop; 60s/70s/80s; pop; rock; indie; electro; classical and instrumental. Anything basically!

Of the latter in particular though, I have picked up on a nice array of music, which is ideal when you want some background sounds, but nothing too heavy to distract, so here are some faves:

Solar Fields - Mirror’s Edge:

The main title theme for this video game, simply titled 'Introduction' caught my ears with it's serene, twinkling electro sounds. Hints of a woman's gasp can be heard on occasion, among echoing sound effects, which even if like me you haven't played the game, gives you a good idea of its tone and themes.

Christopher Tyng:

This composer has provided the soundtrack to a few films and the television show Suits, but if like me you were at uni in the early noughties and you soaked up a weekly dose of The O.C., you would be familiar with his sunny, sandy, beachy feeling soundtrack. Lots of guitars feature in his tracks, with some electric twangs reminding us of the more serious moments on the show (Ryan's brooding and penchant for punch ups), or the jaunty tingles for the more comedic, lighthearted moments (Seth's comic relief). Overall, you're going to be taken back in time to a period of nostalgia, imagining sunning yourself by the California seaside.

Carl Orff:

Carl Orff's most well known piece, other than Carmina Burana, would be Gassenhauer from Musica Poetica. This piece has featured in films (notably 'Badlands') and television commercials. It is a short piece played predominantly with the xylophone, that builds gradually. This is part of a series of compilation music under Orff Schulwerk Musik Fur Kinder, the rest of which is also an enjoyable mix of German a cappella and percussion sounds.

Though seemingly widely different to that of Carmina Buena, you might notice certain elements of it within the varying tracks of Musik Fur Kinder.

Riz Ortolani:

Riz Ortolani was a renowned Italian composer, having written music for film, but would you believe one of his most beautiful pieces was for ... 'Cannibal Holocaust'. The theme tune is in stark contrast to the images on screen and the horrific themes of the film, however, it does fit nicely with the lush green aerial shots captured of Amazonia. In isolation, it can be enjoyed as an orchestral piece of varying string instruments projecting a sorrowful sound, perhaps most relevant in the film to denote the unfortunate demise of the protagonists and the general message of the film questioning the savage behaviour and abuses by man upon foreign cultures and territory.

Ólafur Arnalds:

Aaaah, a newly discovered treasure, I’m dying, I’m dying … I am dead! I was listening to a chillout playlist and one song called Only The Winds became my new favourite. It is somewhat melancholy, with resonance of being by the sea, or on a misty mountain, though exquisitely soothing and something about it just hits you right at the heart.

Air:

The French duo have been around for decades, their most famous song being Sexy Boy, but they have provided work for many soundtracks, directly and indirectly, including Lost in Translation and The Virgin Suicides, with more ethereal, lazy, hazy sounds. Alone In Tokyo from the former is exquisite, though you really do get that sense of isolation within a busily, buzzing, crowded foreign land. Another popular track I recently returned to is I'm Awake. Having not appreciated it as much when it was initially released, probably given it's wide commercial use at the time, it gives off vibes of relaxing in the garden during summertime (in Loire maybe? Mmm, dare to dream...).

Mogwai - Auto Rock:

Michael Mann made a film version of Miami Vice years ago, which perhaps despite requiring a few rewatches to understand what was going on (projection and diction from the actors apparently not required!), the soundtrack accompanied a moodier, cooler take on the popular 80s show. The track Auto Rock, much like Ólafur Arnald's Only The Winds, builds gradually and increases in volume, but with the enhancement of the piano and percussion.

Barrington Pheloung - Inspector Morse Theme:

Ah the theme to Oxford, no? Being a lover of the sound of violins, this theme really hits the spot. I’m not super familiar with the books, or general characterisation of Morse, but if I was to hazard a guess, I’d say the theme combines the tragedy and mystery of the crimes being investigated, whilst trying to convey a certain sense of inner torture, or doubt within Morse.

Sebastian Bohm:

This musician is very creative and unique, combining known classic rock and pop tracks with orchestral sounds and dj beats. His most commonly known track is that of New Order's Blue Monday, a song that has been covered to death, but each cover always seems to have it's own worthy and listenable take on the song. This version has featured on a PS5 advertising campaign, ideally suited to aspects of in gaming action and a sophisticated gaming console. Thrills and chills abound when listening to this one, turn it up (regardless of your iPhone volume control alert telling you otherwise!).

Hydelic - Tetris Effect:

Designed ideally to be played using VR, the music for this game enhances the visually immersive gameplay using beats, timbres and cadence to follow along with the simplistic structure of the game, and its speed increase and intensity as each level progresses.

Gareth Coker - Ori and the Blind Forest:

More video game music! Much like the game content, the tracks on this soundtrack rang from poignancy, enchantment and serenity, but also feature more intense tracks for the parts of the game involving boss battles and time trial-esque gameplay (and boy are those tricky!). The end theme is the payoff though, rounding off what a beautifully designed and crafted game this is overall.